January 1997 Vol. 1 No. 10 AnimationAnimation FestivalsFestivals

HistorHistoryy byby BrBrunouno EderaEdera

MusingsMusings ofof Annecy’Annecy’ss Jean-LucJean-Luc XiberXiberrasras

JohnJohn R.R. DilworDilworthth onon GiannalberGiannalbertoto BeavisBeavis andand Butt-headButt-head BendazziBendazzi onon DoDo AmericaAmerica TheThe BlueBlue ArArrrowow Table of Contents

3 Editor’s Notebook by Harvey Deneroff 5- Animation Festivals: A Brief History 8 Bruno Edera probes the history of international animation festivals, showing their origin goes back fur- ther than most people think. [Eng] [Fr] 13 The Changing Face of Festivals Tom Knott, the former director of the Ottawa Festival, takes a look at how festivals have changed over the past few years, in terms of quality, independent filmmaking, and as a venue for the major studios. 16- Rendezvous In Annecy: An Interview With Jean-Luc Xiberras [Eng] [Fr] 20 Annick Teninge talks with the current director of Annecy, the granddaddy of all animation festivals, about how and why it has changed over the years. 24 To Be or Not To Be An ASIFA-Sanctioned Festival Chris Robinson, Director of the Ottawa Festival takes a hard look at the relationships between festivals and the international animators’ association which accredits them. 27 Festival Programming Many time festival programmer and juror Otto Adler provides his viewpoint on the ins and outs of select- ing and programming films.

29 Confessions of a Festival Juror © Animation W Maureen Furniss recounts her experiences as a member of the Ottawa 96 selection committee, provid- ing some friendly advice from her and her fellow jurors. 33- Brussels, the Festival 36 Philippe Moins, the Festival’s founder, presents the whys and wherefore’s of the event which starts off orld Network 1996. All rights r each festival year. 39 Mancia Musings Wherein the Museum of Modern Art’s Adrienne Mancia reminisces to Mark Langer about her past efforts in animation programming and her thoughts about the state of the craft today. 42 Festival Reasonings A international selection of filmmakers, executives and others share their thoughts about why anima- eser

tors should consider sending their works to festivals. ved. No part of the periodical may be r 46 Yvette Kaplan On the Beavis and Butt-head Watch Janet Benn provides a case study of the role played by Animation Director Yvette Kaplan on Beavis and Butt-head Do America, while saying more than a little about who Yvette is. Film Reviews 50 Beavis and Butt-head Do America by John R. Dilworth 53- La Freccia Azzurra (The Blue Arrow) Giannalberto Bendazzi [Eng] [It] 55

57- The Hunchback of Notre Dame (French Release Version) by Arnaud Laster [Eng] [Fr] epr 60 oduced without the consent of Animation W 63 Mars Attacks! by Wendy Jackson Video Reviews 66- Il Paese degli animali (Animaland) Giannalberto Bendazzi [Eng] [It] 69 72 Desert Island Series . . . Festive Festivalers Make Their Picks Tom Knott, Gigi Hu, Chris Robinson, Philippe Moins and Yvette Kaplan. The Dirdy Birdy by John R. Dilworth

January 1997 74 75 News

81 Highlights of Next Issue orld Network. 1 Cover: Beavis and Butt-head Do America. © 1996 MTV Networks.

ANIMATION WORLD MAGAZINE January 1997 2 by Harvey Deneroff

Festival Matters box office of the Beavis and Butt- Today’s international animation head film gives the lie to the festivals traditionally started in 1960 assumption that only animated in Annecy, France; the same time features aimed at a family audi- and place also saw the birth of ence can make money. And as the L’Association Internationale du Film following statistics that the d’Animation (ASIFA), the interna- National Association of Television tional animator’s organization which Program Executives (NATPE) pro- now serves as the sanctioning body claims, in advertising for its 1st for the major festivals. Annual Animation & Special Effects It is important to remember that Expo, the animation industry is a both organizations were conceived lot broader than ever. To wit, they and nurtured in a world where ani- note that: mation was largely a marginal activ- “The Digital Visual Effects busi- ity vis-à-vis the film and television ing number of movie theaters and ness [which uses animation tech- industries. For instance, in the television outlets (both terrestrial nology and talent] is doubling every United States, the glory days of and satellite); another part is due to year. Computer Video Games Hollywood’s Golden Age were the increasing popularity of anima- account for $1 billion in sales each mostly past, with the spectacle of tion, ranging from theatrical fea- year. Animation Production and inexpensive, Saturday morning ani- tures to video games. Distribution for television is grow- mation threatening to take the rai- Some veteran observers warn ing at upwards of 500-900% per son d’être of animation as we knew of the disastrous consequences if year. With CD-ROM capabilities, 3-D it away. one or more of the new feature ani- and 2-D Character Animation is But animation of a different sort mation operations that the becoming a multi-billion dollar mar- was starting to appear around the Hollywood studios are building in ket. Roughly half of the movies world. Not content to produce pale the Disney mold collapses. released in 1995 utilized digital visu- imitations of Disney, a small but sig- However, it seems unlikely that such als of some sort, while 90% used nificant number of individuals and an event will necessarily be cata- digitally recorded sound. This con- studios went their own ways. It was strophic. After all, the American trasts with “maybe” 10% for each the works of these individuals and industry survived when NBC category in 1993. . . . Animated studios that found their home in fes- stopped programming Saturday Feature Film grosses exceed $2 bil- tivals like Annecy and often domi- morning animation in 1992 with- lion over the past ten years. $17.22 nated ASIFA on both an interna- out a whimper, and looks to do the billion in US revenues are generat- tional and local level. same when CBS follows suit later ed by sale of entertainment mer- Today, animation is no longer a this year. chandise [implying that much of it marginal activity. In the commercial If the market for Disney-style is animation-related].” world, it is fast being absorbed into musical extravaganzas diminishes As animation becomes an inte- the mainstream of the global enter- (as it has to a certain degree over gral part of the film and video indus- tainment industry. As such, anima- the past few years), there is little rea- tries, its destiny becomes increas- tion is growing at a pace and son not to believe that other genres ingly integrated into the entertain- breadth unheard of before. A part will not come to the fore. After all, ment industry as a whole—subject of this expansion is due to anima- Toy Story, Space Jam and Beavis to the same ups and downs, rather tion riding the coattails of a world- and Butt-head Do America are all than going its own course.Thus, wide boom in film and television basically straight comedies; in addi- while the current boom will cer- that has resulted from an increas- tion, the surprising success at the tainly end one day, that does not

ANIMATION WORLD MAGAZINE January 1997 3 mean that the bubble will burst as organization, this need not be the it did in the US at the start of World case anymore. War II or when animated commer- In addition, this March, cials lost their enormous populari- Animation Magazine is reviving the ty at the end of the 1950s. All this Los Angeles Animation Celebration has had and will continue to have as part of its new World Animation its effect on festivals and ASIFA. Celebration. The festival, which ANIMATION WORLD NETWORK As noted elsewhere in this issue, was once a rather modest affair 6525 Sunset Blvd., festivals are getting away from their before it was suspended a few Garden Suite 10 innocent begin- years back, Hollywood, CA 90028 nings as havens will now be Phone : 213.468.2554 for personal ani- part of what Fax : 213.464.5914 mation and inde- looks to be Email : [email protected] pendent-minded an annual filmmakers. While three-ring, attempting to Hollywood continue this tra- extravagan- ANIMATION WORLD MAGAZINE dition, commercial za; among [email protected] interests continue other events, PUBLISHER to “trample” on it will include Ron Diamond, President this hallowed ground. Studios (large an independently produced ani- Dan Sarto, Chief Operating Officer and small) and networks now look mation technology exposition, as EDITOR-IN-CHIEF to them as prime venues to recruit well as an expanded version of Harvey Deneroff talent and find new ideas. Talent ASIFA-Hollywood’s Opportunities ASSOCIATE EDITOR/PUBLICITY which once went into making inde- Expo, that will include a series of Wendy Jackson pendent films now come to festi- Animation Industry Seminars run by CONTRIBUTORS : vals looking for work. This has Women in Animation! Otto Adler indeed changed, to varying Interestingly, ASIFA-Hollywood Giannalberto Bendazzi degrees, the very nature of the way was approached by both NATPE Janet Benn festivals are run and financed. It has and Animation Magazine to have John R. Dilworth also changed ASIFA’s membership. its Opportunities Expo be part of Bruno Edera Maureen Furniss (For example, ASIFA-Hollywood, the their respective events. One of the Tom Knott organization’s largest chapter, has reasons ASIFA-Hollywood decided Mark Langer seen its once strong base among to seriously consider these propos- Arnaud Laster, fans dwindle, while at the same als was the fear that one or both of Wendy Jackson time its professional ranks have these organizations would start its Mark Langer increased exponentially.) own job fair instead. As a member Philippe Moins The days when major festivals of ASIFA-Hollywood’s board of direc- Chris Robinson will be content to hew to a bian- tors at the time, I really did not think Annick Teninge nual schedule, lest they compete any such thing would really come Le WEBMASTER with other events appears to be to pass, but it was not an idea that Guillaume Calop ending. If Annecy does go to an I could entirely ignore. annual schedule, will Zagreb, In the same way, festivals (and DESIGN/LAYOUT : Stuttgart and Hiroshima be far ASIFA) will have to continue to face Guillaume Calop behind? up and adapt to a rapidly chang- IMP Graphic e-mail : [email protected] NATPE’s Animation & Special ing set of circumstances, circum- Effects Expo is scheduled for this stances which may or may not ADVERTISING SALES May, in Los Angeles, the same threaten to alter their essence or North America : Bart Vitek month as Annecy. Though such mission in life. Europe : Vincent Ferri conflicts would, at one time, have —Harvey Deneroff UK: Roger Watkins been disastrous for one or the other

ANIMATION WORLD MAGAZINE January 1997 4 AnimationAnimation Festivals:Festivals: AA BriefBrief HistoryHistory

by Bruno Edera

beginning in the 1960s; and I thank filmmakers from around the world. Annick Teninge for having asked me To be able to participate in an to write about festivals, because it animation festival is a great privi- has given me an opportunity for lege, which inspires in me, more reflection which I might not have and more, a deep respect for those taken otherwise. The following lines who make films, but also for those are my own personal opinions, who make the effort to show them coming from the short and sponta- at these venues: these rendezvous neous reflections of the old “festival of animation professionals with part rat” that I have been for some 40 of their public, the press, television, years, haunting the dark theaters of future festivals, film clubs, potential the frame-by-frame and their side- commercial deals, critics and histo- bars, for animation to me is a feast rians, but also their admirers and that I love to partake of. A feast that friends—that is, their family. Bruno Edera exists thanks to directors, filmmak- ers, writers, producers, artists and Annecy has become an event mong the factors for recog- technicians of all types, whose work where it is impossible to see nizing the richness and vari- you generally only get to see for the everything, where one must Aety of animation film, there first time at festivals, sharing it with make drastic choices between is one which, over the years, has an audience, and communicating festival, marketplace, retro- progressively become more essen- with the filmmakers. It’s important spectives, expositions, etc. tial, and that is the animation festi- for an eager audience to see films val. Today they exist all over the on a large screen, for more and world, hundreds of them, but their more the screens are small televi- There are also certain critical history is relatively recent in the his- sion sets, since many channels carry moments: the opening ceremonies, tory of cinema—even if the art of programs about animation festivals. the presentation of your work, wait- animation preceded the invention Furthermore, there are few cre- ing for the public reaction right after of cinema. ative areas for which (as happens the screening of your work, the As as a historian and as a pro- with animation) you can see (even inevitable discussion “over lunch”, ducer and programmer for televi- if selection juries have become indis- and the agonizing moments (for all sion, I have had the chance to fol- pensable), every year, even several filmmakers, but also for the “neu- low these manifestations since their times a year, the most recent films by tral” participants) waiting for the

ANIMATION WORLD MAGAZINE January 1997 5 prizes to be announced—the wants to see films, “Then go to such- church, with the hope of seeing a moment when gazes are fixed on and-such festival, where you can rosary of good things. the future—moments of intense joy see the wonderful realm of anima- for some and cruel disillusion for tion in all its forms.” An Attempt at Historical others. Sometimes you hear people say Background that there are too many festivals. The history of animation festivals Animation to me is a feast that That’s perhaps partially true, since goes back farther than is generally I love to partake of.A feast that filmmakers often don’t have enough thought; in effect (and as far as this exists thanks to directors, film- prints of their films to participate in is not contested) to 1946, at the makers, writers, producers, all of them. But I think that the time of the first Cannes Film Festival, artists and technicians of all increasing number of festivals is a when the initial manifestation (at types, whose work you general- delightful sign of the seductive least in France) is mentioned in an ly only get to see for the first power of animation. Every viewer— article by one J. Dieterle on page time at festivals. whether at a grand international 73 of French Film No. 172, as “The festival or a little local one, any- First International Festival of Now you can discriminate where in the world—who goes to Animated Films.” between festivals: some are rich and see animation pays homage to the We have not forgotten that by well-endowed—and they general- filmmakers, who have invested so 1946, Oscars had given yearly for ly know how to let you know it; oth- much in their work and usually only some time to animated films in the ers largely compensate for what enjoy a very brief “communion” United States; but these were “pro- they lack financially by a generous with their audience. The word fessional” awards that cannot really welcome, by the quality of the audi- “communion” suggests a religion, pertain to festivals, so we have not ences, their determination to show and one could well associate ani- considered them—as they lack the their approval or disapproval, what- mation with a sort of religion: those very thing that is essential to festi- ever they feel, quite aside from the who make the films do so with a vals: interaction between the prod- prizes given. There are a limitless monastic dedication, their mean- ucts and the makers on one hand number of criteria for judging a fes- ings are generally at the level of a and on the other the essential fac- tival, but as far as I’m concerned, “universal conscience”—in a very tor that determines their value, for all the festivals that I was able to short time they are able to release namely “the public.” attend (and that adds up to quite a an emotional reflection—and they In 1954, the “Club Gente de few), I always went with the idea go to a festival as one goes to Cinema” [Society of Cinema Club] of “What new things can I do and see?” (pretentiously, I believe I’ve seen everything . . .); and every time I leave with new references both for my histori- an notebooks and my list of items that I’d like to acquire for Swiss Television. Animation festi- vals, as far as I’m concerned, are a vital element in my activities; and I’m always happy when I have a chance to Drawing by Bruno Bozzetto for the 1st Annecy Festival tell someone who

ANIMATION WORLD MAGAZINE January 1997 6 film through inter- the 19th (or the 21st, counting the posed festivals. first two JICAs). (For a time, there was also a RICA [International The Birth of JICA Animation Conference] at Annecy During the on the even numbered years when 9th Cannes Festival the festival was not held.) from April 26 to May The Annecy Festival is known 4, 1956, largely due throughout the world, and is with- to the work of André out doubt the most important: It’s Martin and Pierre the only one about which filmmak- Barbin, “The First ers will say, “I’m making a film for International Annecy.” Animation Days” For those who have followed it [JICA] took place. A from the early days, Annecy has hundred films from undergone a great change: it has all over the world become an event where it is impos- were screened, but sible to see everything, where one it wasn’t yet a “festi- must make drastic choices between val” in the true sense festival, marketplace, retrospectives, of the word as we expositions, etc. know it now; how- ever, it aroused con- And Elsewhere? siderable interest To preserve a sort of chrono- among festivalgoers logical timeline, we have focused and animation pro- on Annecy which began in 1960 at fessionals in having the same time as ASIFA. We will now a second JICA take cover other festivals that arose by place at Cannes in each decade.. Poster of the 1st JICA in Annecy 1960. 1958. During the first decade of Annecy, the 1960s, a number of of Buenos Aires showed an impor- Make a Film For Annecy other festivals sprang up and died, tant program of international ani- By 1960, some people worked but this list is not necessarily exhaus- mation in Argentina. Another festi- to get JICA its own wings, so it tive: val took place in that city in 1961. would no longer be dependent on We haven’t taken the trouble Cannes. At Annecy, there was a • A festival took place in Peking in before this to research sources or nationally-famous film society, and it 1960 or 1961. references prior to these, being con- was there that JICA found a new • In 1965, during the 8th tent at our modest personal level to site to hold its festival. At the same Biennale of Saõ Paulo, there was be interested above all in French ref- time, a number of filmmakers and an International Animation erences noted as “probable begin- promoters of animation films had Festival, but only recently has nings” of festival activities dedicat- put together an International another Brazilian animation fes- ed to frame-by-frame. This let us find Association of Animated Film tival, Anima Mundi, taken place.. a single page printed during the [ASIFA], which was still rather famil- • In Tokyo, in 1965, an 8th Cannes Festival, dated May 6, ial at this point. At the beginning, International Animation Festival 1955, bearing the title Homage to we remember, the Annecy Festival took place at the Sogetsu Arts the Pioneers of Animation, took place on the even-numbered Center. announcing the manifestation orga- years: 1960, 1962—then starting • The First Festival of Animated nized during the following festival, in 1963 on the odd-numbered Film took place at Los Angeles and which, as far as we know, was years. There was no festival in 1969 in 1965, [which evolved in a the beginning of the now-world- [a year of political turmoil in France], touring program called the wide movement for the recognition so the 1997 Annecy Festival will be International Tournée of of the importance of the animated

ANIMATION WORLD MAGAZINE January 1997 7 Animation.] 1974 and 1975. was only held in 1990 and • In 1966, the first International • In 1976, the only still extant 1992. Animation Festival was held at North American festival • Hiroshima, biennial from 1984. Mamaia in Rumania. It would appeared: Ottawa (which was be held in the even numbered held in two other Canadian There are also a number of years between Annecy three cities, but is back regional or national festivals which times: 1966, 1968 and 1970. have acquired an international fol- Films were screened in an open- lowing, including three in France air theater on the banks of the (Marly-le-Roi, Bourg-en-Bresse and Black Sea, which gave it a very Rennes), the Bulgarian Tolboucjkine, special atmosphere. and the Swiss Soleures. • In 1967, as part of the Montreal Among the documents I have Expo world’s fair, a unique World at hand, there are also mentions of Retrospective of the Animated a Chicago 1980, a Genk 1981, a Cinema took place. It included a Tokyo 1987, and a Utrecht 1987. competition for films under one And this does not count short film minute on the topic “The World festivals with a strong animation cat- of People,” for which egory, such as Clermont-Ferrand, some 100 titles Leipzig, Dresden, or Viper in were submitted. Lucern, Switzerland. • In 1968, the I have a list of a 100 other Cambridge names, issues and consid- Animation erations about festivals, Festival was but they will have to wait born. It was non- for another article! competitive, and the current Cardiff Translated by William Festival is its descen- Moritz dent. That same year, the London Festival home again, each even year). included an animation section. • Finally, in 1979 the Varna • In 1969, a festival was started in Festival started; this Bulgarian Lucca, Italy, but unfortunately it event has been discontinued, no longer exists. but is supposed to be held again soon. Varna was very colorful Bruno Edera is a producer/pro- During the 1970s, a number of and was also held on the banks grammer forTélévision Suisse international manifestations did not of the Black Sea. Romande (TSR) and a animation add much to our knowledge, but historian. He has published a few were important. It is impossible to list all the many works on a wide variety of top- events that occurred during the ics, including African cinema • In 1970, the first Conference of 1980s, so I will only cite those that and eroticism and animated Abano Terme in Italy. aroused international attention. films. He has also served on the • When Mamaia ceased to exist juries of a number of animation after 1970, Zagreb took over as • Since 1982 Stuttgart, biennial. festivals, including Espinho, a showplace for Eastern Europe; • Since 1976, Espinho in Portugal, Lucca, and Zagreb, as well as despite various political turmoils, annual. serving on the selection com- Zagreb has continued to hold • KROK, a festival that takes place mittees of such events as Varna, its biennial festival in even years on board ship (e.g., sailing Geneve-Computer Animation since 1972—and it is still the down the River Don), will have andAnnecy. main alternative to Annecy. its fourth event in 1997. • New York held festivals in 1973, • Shanghai, a biennal event that

ANIMATION WORLD MAGAZINE January 1997 8 FFeessttiivvaallss ddee FFiillmmss dd’’AAnniimmaattiioonn

par Bruno Edera

de pouvoir suivre de telles manifes- film d’animation, on puisse voir — tations dès le début des années soix- même si des jurys de sélection sont ante, et je remercie Annick Teninge maintenant devenus indispensables de m’avoir demandé mon opinion — chaque année, et même sur les festivals ; cela m’a donné l’oc- plusieurs fois par année, la plus casion d’une réflexion que je n’au- récente production de films d’au- rais jamais faite autrement. Les teurs du monde entier. Pouvoir par- lignes ci-dessous reflètent un avis ticiper à un festival de films d’ani- personnel, issu d’une réflexion mation est un grand privilège qui courte et spontanée du vieux “rat m’inspire de plus en plus pro- de festivals” que je suis depuis une fondément le respect de ceux qui quarantaine d’années, hantant les font les films, mais aussi de ceux qui salles obscures de l’image par font 1’effort de les montrer ; un fes- image. tival est le rendez-vous des profes-

Bruno Edera L’animation est pour moi sionnels de l’animation avec leur comme une gourmandise que public, la presse, la télévision, les armi les facteurs de reconnais- j’aime à faire partager ; gourman- ciné-clubs, les acquéreurs potentiels sance de la richesse et de la dise qui existe grâce à des auteurs, de droits, la critique et l’historiogra- Pvariété du film d’animation, il réalisateurs, producteurs, artistes et phie ; mais aussi les admirateurs et en est un qui, au fur et à mesure techniciens de toutes tendances, les amis, voire la famille. des années, est devenu essentiel, mais que l’on apprécie générale- C’est aussi un certain nombre de c’est celui des festivals. I1 en existe ment en première vision que lors de moments critiques : l’inauguration actuellement plusieurs centaines à festivals, en tous cas en ce qui me de la manifestation, la présentation travers le monde, mais, para- concerne, car i1 y a partage avec de son oeuvre, l’attente des réac- doxalement, leur histoire est rela- le public, et communication avec tions du public immediatement tivement récente dans l’histoire du les créateurs. C’est vrai aussi pour après une projection, l’éventuelle cinéma, même si l’art de l’animation le public, avide de productions ciné- discussion “de bistrot”, et, moment a précédé l’invention du ciné- matographiques qui se présentent certainement angoissant pour tout matographe. sur grand écran et, de plus en plus, créateur, mais aussi pour les partic- Ayant personnellement deux sur les écrans de télévision, car ipants “neutres”, l’attente du pal- qualifications dans ce domaine, celle plusieurs chaines proposent aujour- marès ; moment où les regards se d’historien d’une part, et de pro- d’hui des émissions sur les festivals. fixent vers l’avenir; moment d’in- grammateur-producteur de télévi- De plus, il est peu de domaines tense joie chez certains, de cruelle sion d’autre part, j’ai eu la chance de la création où, comme dans le désillusion chez d’autres.

ANIMATION WORLD MAGAZINE January 1997 9 On pourrait faire des discrimi- ment de copies pour participer à d’animation est peut-être plus anci- nations entre festivals ; ceux qui sont tous ; pour ma part je pense que enne qu’on le pense généralement riches et bien dotés — générale- tant qu’il s’en créera de nouveaux, ; en effet et pour autant que cela ment ils savent le montrer ; d’autres c’est un signe réjouissant de l’attrait ne souffre pas de contestation, c’est ont largement compensé le que l’animation peut susciter. en 1946, lors du premier Festival de manque de moyens par un accueil Chaque spectateur qui, à travers le Cannes qu’une première manifes- exceptionnel — la qualité des monde, va à un festival voir des films tation, plus particulièrement fran- publics, leur détermination à man- d’animation — du festival intem- caise est citée ; puis Le Film Francais ifester ou non leur approbation ou ational jusqu’au festival familial local — numéro special no. 172 — men- désapprobation, ce qui se sent par — rend hommage à des créatrices tionne en page 73 “ le premier fes- exemple lors de la lecture du pal- et créateurs qui s’investissent énor- tival international de dessins animés marès. On pourrait ainsi se répan- mément dans leurs oeuvres et n’ont sous la forme d’un article signé J. dre sur un nombre illimité de critères parfois qu’une trop brève “commu- Diterle. de jugement en rapport avec un nion” avec le public. Le mot com- On n’oubliera pas, cependant festival ; en ce qui me concerne à munion peut faire songer à une reli- de rappeler que, à ce moment-là, chaque festival auquel j’ai la possi- gion, mais on peut associer l’ani- depuis plusieurs années, des Oscar bilité d’assister, et cela conmence à mation à une sorte de religion ; de l’animation étaient déjà attribués en faire un bon nombre, je viens ceux qui font les films font un tra- aux Etats-Unis ; mais comme le maintenant toujours avec l’idée vail de bénédictin ; leurs messages cadre n’en était que professionnel, “Qu’est-ce que je vais bien pouvoir se situent généralenent au niveau on ne peut pas assimiler ces mani- y trouver de nouveau” (préten- d’une conscience universelle ; ils festations à des festivals et nous n’en tieusement je crois avoir tout vu... ) parviennent à déclencher une tiendrons pas compte ici. Ce qui car- et chaque fois j’en repars avec de reflexion émotionnelle dans une très actérise un festival, c’est la rencon- nouvelles références aussi bien sur courte durée, et l’on va dans un fes- tre des films, des réalisateurs avec mon carnet de notes d’historien, tival comme on va à l’église, avec l’élément essentiel qui en détermine que sur mon futur carnet de com- 1’espoir que l’on verra un chapelet leur valeur, c’est à dire le public. mandes pour les émissions que la de bonnes choses. En 1954 le Club Gente de TSR (Television Suisse Romande) Cinema de Buenos Aires, en présente régulièrement. Une Tentative de Situation Argentine a montré une importante Le festival de films d’animation Historique programmation de films d’anima- est un moment vital dans mes activ- L’histoire des festivals de films tion internationaux ; un autre festi- ités, et je suis très heureux quand j’ai l’occasion de dire à quelqu’un qui voudrait voir des films :”Allez donc à tel ou tel festival, c’est là que vous ver- rez ce qu’est ce monde merveilleux de l’animation, sous toutes ses formes”. On entend par- fois dire qu’il y a trop de festivals, c’est peut-être partielle- ment vrai lorsque l’on sait que tous les réalisateurs ne pos- sèdent pas suffisam- Dessin de Bruno Bozzetto pour le premier festival d’Annecy

ANIMATION WORLD MAGAZINE January 1997 10 imation dans le encore quelque peu familial. On se monde. souviendra que le festival avait lieu, au début, les années paires : 1960, Naissance des 1962, puis les années impaires à JICA partir de 1963, et qu’il n’y en eut Lors du 9e pas en 1969. Ainsi celui de 1997 Festival International sera le 21ème. du Film de Cannes, Connu dans le monde entier, le en 1956, eurent festival d’Annecy est le plus impor- lieu, entre le 26 avril tant, l’incontournable, peut-être le et le 4 mai, les pre- seul au sujet duquel des réalisateurs mières Journées disent “je fais un film pour Annecy” Internationales du Pour les festivaliers qui le suivent Cinéma d’Animation depuis les débuts, il y a eu un très (JICA) organisées par grand changement ; c’est devenu l’Association une manifestation où il est impossi- Francaise pour la ble de tout voir, où un choix s’im- Diffusion du pose de facon drastique entre Cinéma, sous l’im- Festival, Marché, Retrospectives, pulsion notamment Expositions etc. Durant une péri- de Pierre Barbin et ode, il y eut aussi, les années sans André Martin. Une festival, des Rencontres centaine de flims Internationales du Cinéma provenant du d’Animation [les dernières eurent monde entier y lieu en 1990, conjointement avec furent présentés ; ce la célébration du 30e anniversaire n’était pas encore du festival]. un Festival au vrai Affiche des premiers JICA à Annecy en 1960. sens du terme Et Ailleurs? comme on le Pour conserver un élément de val a également eu lieu dans cette conçoit maintenant, mais cette ini- comparaison chronologique, on se ville en 1961. tiative a suscité beaucoup d’intérêt situe, généralement, par rapport au Nous n’avons pas pris la peine, parmi les festivaliers et les profes- festival d’Annecy, ce qui est pratique jusqu’ici, de rechercher plus sionnels de l’animation, après notamment parce que sa première antérieurement des sources ou qu’une seconde édition des J.I.C.A. édition (1960 ) concorde avec la références, nous contentant, à notre se soit deroulée à Cannes en 1958. naissance de l’Association modeste niveau de nous intéresser Intemationale du Film d’Animation, plutôt aux références francaises Faire un Film Pour Annecy et que l’on peut établir des situa- comme “débuts probables” des En 1960, quelques personnes tions par tranches de dix ans. activités de festivals dédiés à l’image on travaillé pour que les JICA volent Durant la première decennie “post- par image. Ceci nous a permis de de leurs propres ailes et ne dépen- annécienne”, on note la naissance, trouver un simple feuillet daté du 6 dent plus du festival de Cannes ; I1 parfois aussi la cessation, de mai 1955 et édité lors du 8e Festival y avait alors à Annecy un ciné-club quelques festivals ou manifestations, de Cannes, portant pour titre: d’importance nationale et c’est ainsi sans que la liste donnée ici soit “Hommage aux pionniers du film que les JICA y ont trouvé un nouv- exhaustive. d’animation”, qui annoncait la man- el endroit pour se dérouler ; paral- Il y eut, en Chine, un festival à ifestation organisée lors du festival lèlement, plusieurs réalisateurs et Pekin, en 1960 ou 61. En 1965, lors suivant et qui, à notre connaissance, promoteurs de l’animation ont mis de la 8ème Biennale de Sao-Paulo, fut à la base du mouvement main- sur pied une Association au Brésil a été organisé un premier tenant parfaitement planétaire de Internationale du Film d’Animation festival international de cinéma d’an- la reconnaissance, par festival inter- [ASIFA], dans ce contexte alors imation; or on sait qu’il y a actuelle- posé, de l’importance du film d’an-

ANIMATION WORLD MAGAZINE January 1997 11 ment de nouveau un festival au une première Rencontre d’Abano en vrac, que ceux que je connais Brésil [Anima Mundi] ; un autre Terme, en Italie ; Mamaia ayant ou qui ont une reputation intem- Festival International du Cinéma cessé en 1970, il fut, en quelque ationale : Dès 1982 : Stuttgart, bien- d’Animation a eu lieu la même sorte, remplacé, dès 1972, par nal ; Krok, festival qui se déroule sur année au Centre Artistique Sogetsu Zagreb qui, lui, dure encore malgré un bateau et dont ce sera la qua- de Tokyo. une situation difficile — qui n’a rien trième édition en 1997; Shanghai, “The First festival of Animated à voir avec l’animation — et con- Hiroshima; et une quantité d’autres, Film” s’est déroulé à Los Angeles en tinue d’être un rendez-vous biennal aussi bien internationaux que 1965. denationaux ou même régionaux, En 1966 se crée le festival inter- parmi lesquels : Marly-le-Roi (nation- national du film d’animation de al, France); Bourg-en-Bresse (films Mamaia, en Roumanie, en alter- pour la jeunesse, France); Rennes nance avec Annecy; il y eut 3 edi- (France); Tolboucjkine (national, tions, en 1966, 1968 et 1970 I1 Bulgarie) ; Soleures (national, offrait la particularité de se dérouler Suisse). dans un cinéma de plein air, au Dans la documentation que je bord de la Mer Noire, ce qui lui con- possède, sont encore mentionnés : férait une atmosphère toute spé- en 1980, Chicago ; en 1981, Genk ciale. ; en 1987, Tokyo ; en 1987, Uttrecht 1967 est l’occasion ; sans compter les festivals de courts d’une manifestation métrages avec une section ani- unique dans le cadre mation du type Clermont- de 1’Expo de Ferrand (France), Leipzig et Montreal “The Dresden (Allemagne), etc. World Retrospec- J’ai encore une cen- tive of the taine de noms, idées et con- Animated Cinema” sidérations personnelles, au cours de laque- mais cela devra faire l’objet lle, entre autres, il y d’un autre article... eut l’organisation d’un concours spécial : les réalisateurs ont pu propos- choix. 1973, 1974 et 1975 er des réalisations sur le thème sont les années où il y eut un festi- “Terre des Hommes”, d’une durée val à New York. Dès 1976 Espinho fixée à 50 secondes; une centaine au Portugal, annuel, festival de fin de films participèrent au concours. de saison ; toujours en 1976, c’est Bruno Edera est En 1968 nait le festival de l’apparition du seul festival sur con- producteur/programmateur à la Cambridge, qui etait non compéti- tinent américain qui existe encore : Télévision Suisse Romande (TSR) tif, et dont l’actuel Cardiff est la suite. Ottawa, qui s’est un peu deplacé à et historien du cinéma d’anima- La même année, dans le cadre du travers le Canada avant d’y revenir tion. Il a publié differents London Festival, nait une section il y a peu. Enfin, en 1979, c’est l’ap- ouvrages sur le cinéma d’anima- Animation. parition du Festival de Varna tion (cinéma africain, érotisme En 1969 nait le festival de Lucca, (Bulgarie) qui n’existe plus non plus, et dessin animé). Il a notam- en Italie, qui n’existe malheureuse- mais qui devrait, nous a-t-on dit, ment été membre du Jury des ment plus. renaître bientôt; c’est également un Festivals d’Espinho, Lucca et Durant la période 1970 à 1979, festival “marin” puisque situé au Zagreb et membre des comités le nombre de manifestations inter- bord de la Mer Noire. de sélection des festivals de nationales n’augmenta pas de Pour la période de 1980 à 1989, Varna, Geneve-Computer beaucoup à notre connaissance, it n’est plus possible d’établir une Animation,and Annecy. mais certaines d’entre elles sont liste, tellement le nombre de mani- devenus importantes. 1970 a vu festations a augmenté, je ne citerai,

ANIMATION WORLD MAGAZINE January 1997 12 by Tom Knott

estivals devoted to animation ized that, unlike most live-action deputy director, I met with them have been around for over 35 events, animation festivals present- and they offered me the job. The Fyears. The first major one was ed a unique opportunity to talk to director at that time was Frank held in Annecy, France in 1960. It animation artists, most of whom Taylor, who helped revive the festi- was started by a group of French turned out to be very approachable. val. He was the director in 1988 and film enthusiasts and attracted such For instance, at the ‘84 festival, I animation pioneers as John Hubley, spent two hours talking with Bill Karel Zeman and Norman McLaren. Scott of Rocky and Bullwinkle fame Annecy has since grown and about writing for animation. This is grown to the point where it is cur- a moment I still treasure. rently the biggest animation event In 1986 the Festival moved in the world, attracting thousands again , this time to Hamilton, just of people and hundreds of films. A south of Toronto. The organizers few years after Annecy started, were looking for volunteers so I other festivals joined the circuit— enlisted. Shortly after that I was 1990, a post I took over for 1992 Mamaia, Varna, Zagreb, Ottawa, hired on full-time and ended up and 1994. In between the Ottawa Hiroshima, Stuttgart, and a number doing most of the programming. Festivals, which are held ever other of others. Some of these are still in The Hamilton Festival had a really year, I worked on the second, third existence, some aren’t. rough time and indeed the Festival and fourth Los Angeles International in Canada had a rocky ride for the Animation Celebrations. most of the 1980’s. The board of Festivals are a good place in directors fired the director a month which new and established tal- In the States, many of the before the festival and it was up to ent can be recruited. opportunities for realizing the staff to run the festival with income [from independent some help from the board. And films] have disappeared. Plus I attended my first festival in unfortunately the money ran out many filmmakers are now 1982 in Ottawa. At that time I was before the festival started, so it basi- devoted parents and have dif- working for the Canadian cally ran on fumes. However, I did ferent, more important priori- Filmmakers Distribution Centre, get a taste for programming and ties. which handled animation among again met some great people, such other types of film. In 1984 the as Czech filmmaker Karel Zeman Festival moved to Toronto, which I (and saw every one of his mar- also attended. That’s when I started velous features). A Decline in Quality to get excited about animation and In 1988, the Canadian Film Over the past few years, I’ve animation festivals. With animation Institute brought the Festival back noticed a decline in the quality of anything that can be imagined can to Ottawa. The CFI had ran the films entered in competition at fes- be created and animation festivals Festival from its inception in 1976 tivals. The 1980s and early 1990’s are the evidence of this. I also real- to 1984. They were looking for a were a high period, quality-wise.

ANIMATION WORLD MAGAZINE January 1997 13 You had the influence of Norman McLaren, the Hubleys, Jules Engles, as well as the National Film Board of Canada, Zagreb and European schools of animation on a whole generation of filmmakers. The NFB itself was at its peak in both the French and English Animation Studios. Across town you had Frédérick Back creating master- pieces at Radio Canada. In Eastern Europe, in the com- munist run countries—the Soviet Union, Bulgaria, Poland, Czechoslovakia—you had state run animation studios which created many great films. In the States you had opportu- The Shark's Fin by William Lebeda nities to realize some revenue from appeared. Plus many filmmakers are wonderful films. And there is a new independent animation films, from now devoted parents and have dif- generation of filmmakers coming the touring shows—the ferent, more important priorities. up. International Tournée of Animation, This has resulted in many animation Unfortunately, for the festival cir- Spike & Mike’s Festival of filmmakers no longer having the cuit, many of the new generation Animation—and MTV’s Liquid opportunity or time to create. are entering the studio world and Television. MTV was also commis- not creating their own films. There sioning station ID’s from indepen- There has been an increase in was an article in a recent issue in dent animators, which put cash in the number of schools offering Variety stating the animation indus- animators’ pockets. animation programs, but few of try is gobbling up many of the inde- Much of this has now changed. these are concentrating on pendent animators. Most of the Many of the now formerly commu- teaching animation as film- independents I know are not work- nist countries closed or privatized making. ing in the industry, though some their studios. In Canada, the NFB are working in small commercials has faced sever budget cuts. And houses. It’s the students that are in the States, many of the opportu- Bright Spots, But . . . choosing to go the studio route nities for realizing income have dis- There are a still a number of instead of the filmmaker route. bright spots. In There has been an increase in the the UK, number of schools offering anima- Channel Four tion programs, but few of these are and the BBC concentrating on teaching anima- have contin- tion as filmmaking. ued commis- The commercial animation stu- sioning great dios have also had an impact on films from stu- some festivals. It used to be that the dios like big studios didn’t enter animation Aardman. festivals. Companies like Kurtz & Some veteran Friends did, but Disney or Warner filmmakers,like Bros. did not. Now they do. This is Joanna Priestly a good thing, as it shows the and Bill breadth of what animation can do. Plympton, are After all festivals are showcases for Tale About the Cat and the Moon by Pedro Serrazina still creating the best animation.

ANIMATION WORLD MAGAZINE January 1997 14 Many festivals have also come sometimes business seems to take ness community. The Ottawa to rely on much needed funding over. Festival may have a more difficult from the major studios. Usually Festivals can be of value to the time fundraising, but it has survived these contributions come with major animation studios. As many of for 20 years through many ups and increased involvement from these the feature studios are looking for downs and will continue to survive. companies, which can result in a talent, festivals are a good place in Other festivals which rely on gov- festival having a more commercial which new and established talent ernmental aid may also experience feel. can be recruited. You never know similar problems. Right now, Annecy is the only when or were you are going to Many of the larger animation festival with a strong market—MIFA, come across talent. Also, television studios are providing some funding which has been held for the last sev- companies like Nickelodeon and the to festivals. But studios are fickle eral years. There are people who Cartoon Network come looking for beasts and in the future it may be a attend Annecy just for the market. ideas. case of having to do more with less. It’s more of a market for selling prod- The Future I realized that, unlike most live- action events, animation festi- As for the future, Annecy vals presented a unique oppor- will certainly remain the tunity to talk to animation main animation festival. artists, most of whom turned They have talked about out to be very approachable. going yearly, at least as far as the market goes. If this happens then there Fortunately, there is still a com- would be some impact munity that wants to see and sup- on the other festivals. port animation. And most impor- Right now, you have tantly all the festival directors have Annecy in the odd num- strong commitment and passion to bered years and Ottawa, the art form, and are doing all they Hiroshima, Zagreb, can to insure their festival’s survival. Stuttgart and Holland in the even numbered years.

There are several new fes- tivals like Cartoons On Waiting For the Moonrise (Studio Lotus) The Bay. But these cater- Tom Knott worked for the to the commercial world Ottawa International Animation uct, especially to European televi- and their impact would be more on Festival from 1988 to 1995 and sion. Many of the participants are markets such as MIFA or MIPCOM. on the Second, Third and Four also looking for ideas and projects. The Los Angeles International Los Angeles International There are also vendors selling tech- Animation Celebration is also being Animation Celebrations. He has nology—ink & paint systems, CG revived as the World Animation also acted as a consultant to software, etc. With the growth Celebration in Pasadena this March. Colossal Pictures, MTV, the spurred by the European Union and Secure funding of festivals is key Voyager Company and the increased numbers of terrestrial to the survival of festivals. In a coun- Expanded Entertainment. He and satellite TV stations, there is a try like Canada, raising money for currently works for Warner large market for animation in the arts is getting harder. The gov- Bros. Feature Animation in Los Europe that MIFA caters to. ernment is cutting back on direct Angeles. Annecy does try to keep a bal- arts funding and, in some cases, ance between animation as art and making it more difficult, tax-break the commerce of animation, but wise, to raise money from the busi-

ANIMATION WORLD MAGAZINE January 1997 15 RReennddeezzvvoouuss IInn AAnnnneeccyy:: AAnn IInntteerrvviieeww WWiitthh JJeeaann--LLuucc XXiibbeerrrraass

by Annick Teninge

nize a whole range of live shows als, This was an enormous figure for and set up one of the first avant- animation at the time. It is impor- garde entertainment venues in the tant to realize just how small every- alternative arts scene outside thing was in those days. There was Paris—in Haute-Savoie, France, only one movie theater with only where I arranged screening of films one competition screening per day, by little-known directors such as complemented by a small number Saura, Fassbinder, Wenders and of retrospectives and only one exhi- Cassavetes. Then, in the late 70s, I bition . Jean-Luc Xiberras was able to create a special the- Courtesy of Annecy Festival ater for the performing arts (music, If the number of professionals ean-Luc Xiberras has been theater and dance), attracting inter- attending Annecy has gone director of Annecy, the oldest national groups such as The Living from 340 in 1981 to an esti- Jand perhaps the most presti- Theater and the Bread and Puppet mated 5,000 for 1997, the same gious of all animation festivals, for troop, as well as worldwide touring can be said for the number of 14 years. The festival has long been operas such as Peter Brook’s pro- films submitted for competi- a pacesetter for the others that fol- duction ofCarmen. tion. lowed. For example, it was the first to institute a market. It has also been What was the state of the festi- Over the years, Annecy had rumored that it will be held annually val when you first came to carved out a special niche for itself (all the major festivals are now held Annecy in 1982 and what were as a haven for personal animation, every other year). To find out exact- the important changes you ly what’s happening about this and made? other matters, I decided to ask him When I started as general man- a few questions about both Annecy ager, I found myself placed rather and himself. suddenly in the thick of things, as preparations for the 1983 festival What is your background? were well under way. However, I I began my professional career was instantly able to take full advan- in the 1960s as an organizer and tage of the facilities offered by the director for various cultural associa- new Bonlieu Cultural Center, which tions. My job involved arranging all replaced the old Casino Theater as sorts of arts events for the general the festival’s new official venue. Cannes 1958: Norman McLaren, Joy public. In the 1970s, I became In 1981, the festival attracted Batchelor, Paul Grimault, John Halas Courtesy of Annecy Festival involved with an even larger orga- between 300-400 film profession- nization, which enabled me to orga-

ANIMATION WORLD MAGAZINE January 1997 16 technology and the new econom- filmmakers would come to Annecy ic situation were passing it by.” The and show their films, but everything changes, however, were not to stopped there. We tried out a pro- everybody’s liking and the anima- totype film market in the exhibition tion community in France was hall next to the Bonlieu movie the- deeply divided. This was the atmos- ater. It was pretty much an impro- phere that I came across when I vised and informal affair—trestle moved into the hot seat. tables and a few companies selling At the beginning, I had no real animation materials (basically pens knowledge of animation. However, and gouache) together with a few I immediately sensed that we had valiant producers who wanted to to increase the number of movie meet the filmmakers attending Softimage booth at the MIFA theaters and use the cultural facili- Annecy. However, it enabled us to Courtesy of Annecy Festival ties available in Annecy to full effect. create the first MIFA [Marché inter- which were invariably short films. In 1983, films were shown in six dif- national du film d’animation] market Also, first and foremost, it was a ferent cinemas and the number of in 1985 with real booths, a 500 venue where animators could meet competition screenings was square meter exhibition area and a each other in a relaxed atmosphere increased threefold. I also wanted raft of companies who were pre- over a glass of beer in a street café. to make the Annecy Festival more pared to take the plunge with us. The festival itself was organized festive and add to the number of In setting this up, we were lucky to from an office in Paris in conjunc- tributes, retrospectives (8-9) and have backing from the French tion with the local film society (one exhibitions (4-5). To my own sur- Ministry of Foreign Affairs, who of the biggest in France with prise the number of professionals developed the Image Plan to pro- between 4,000 and 5,000 mem- attending Annecy shot up to 1,300. mote the animation industry. The bers). However, the festival board I felt that we had met the challenge animation scene did the rest— decided to change things and look and it was time to move in a big exhibitors were mainly from France, to the future—the competition cat- way. with a few from the rest of Europe. egory was extended and the orga- The idea now was to integrate There were very few TV producers nizational headquarters switched to all animation techniques, including present, as the market was domi- Annecy. the much maligned new technolo- nated by Japan and the US. It’s interesting to look at what gies, into the competition segment. Since then, both the market and Pierre Jacquier, the president of the We also began to work on the idea the festival have never stopped festival board, said at the time to of a film market for an industry that growing. For example, in 1987 we realize the full scope of the changes didn’t even exist at the time. were forced to extend the MIFA that were taking place “The Film Society and its members were still Why did you working as hard as they had always decide to create a done and the organizers in Paris market? Was it an were still doing their job as well as economic necessi- ever. Yet it was the environment that ty and were you a was changing. I’m talking about pioneer in doing audience expectations, the whole this? scale of production and distribution. It was started in The festival was running very 1983. Many people smoothly but we were going round smiled and shook in circles. It was becoming a kind of their heads when I stopgap or refuge for the personal mentioned the animation film and rather academ- idea—they thought ic. It was missing out on the new it was too Utopian. developments in animation and What happened Outside view of the MIFA new types of cinematography. New at the time was that Courtesy of Annecy Festival

ANIMATION WORLD MAGAZINE January 1997 17 exhibition area to a marquee in the and feel frustrated at not being able garden area of the Bonlieu Center; to attend all the screenings, retro- then in 1989 MIFA moved to a spectives and exhibitions. What you 2,000 square meter tent on park have to realize is Annecy’s public is land in front of the lake, before find- as diverse as animation itself. You ing its current home in the Imperial need to draw up as wide a range of Palace Conference Center in 1991. film programs as possible, That’s the In 1995, the way we organize programs from rel- atively little known areas of the tent was expanded to 3,000 square A view of the MIFA meters to meet the growing Courtesy of Annecy Festival world as Albania, India, China, Latin demand from the US majors. Not prize winner; but in 1995 we ended America and South Africa, to name that MIIFA stops there—it encom- up with two joint-winners, because but a few. passes all of the other conference one jury was pitted against the Similarly, our exhibitions are spe- rooms and salons in the conference other. As a result, we decided to cially designed to reveal the multiple center itself. modify the rules of the 1997 festival facets of animators. Animators are I can understand why so many to make sure that each genre would not just filmmakers, they are also people all over the world are trying have its own grand prix and other artists, painters, illustrators, puppet to create thematic film markets for awards. That’s the way things makers, graphic designers and animation—we’ve been doing it for seemed to have worked out and sculptors. They invent their own 10 years now and have seen how will probably be for the foreseeable techniques, ranging from tradition- so many things have taken off. future. al cel to computer, sand, pin screen, If the number of professionals glass etching and plasticine anima- How else has the festival grown attending Annecy has gone from tion. This is what the exhibitions try and changed over the years? 340 in 1981 to an estimated 5,000 to emphasize. As might be expected, it has for 1997, the same can be said for We also feel that it is crucial to changed with the times. In 1985, I the number of films submitted for organize a complete retrospective felt that it was necessary to consid- competition. Animation certainly and tributes to a specific animator or er TV series, advertising and com- seems to be riding on the crest of a group of animators at each edition missioned films for competition. wave. We have gone from 350 films of the festival. For example, in 1995 This, in turn, highlighted the need entered in Annecy 83 to a stagger- we organized a whole series of to set up different selection com- ing 1,236 in 1995, with a big ques- screenings, along with an exhibi- mittees for different genres, which tion mark for 1997. That’s an aver- tion and a number of lectures on we did in 1985, although the com- age increase of 200 new petition itself remained open to all films for each new edition. categories. In the middle of all this Our next step was to arrange we felt that it was impor- for specific screenings according to tant to discover and high- genre—shorts, features, TV pro- light new talent. For this ductions, commissioned films—but reason, we decided to cre- we still kept the notion of only one ate a special student and international jury. In view of the graduation film prize in incredible difficulty involved in 1995 and intend to do switching from one type of pro- our utmost to support it. duction to another, we thought it was wiser to set up two different What do you say to international juries, which we did those who criticize in 1993. Since then, there have Annecy for getting too been separate prizes for specific big? genres but only one grand prix. Obviously, some peo- This worked well in 1993, when ple feel that there is sim- both juries agreed on the ultimate A view of the city: the Castle and the lake. ply too much going on Courtesy of Annecy Festival

ANIMATION WORLD MAGAZINE January 1997 18 Gisèle and Nag Ansorge, We even months. The animation industry brought out a videocassette of their needs an annual gathering in films and published a monograph Annecy, with an annual competi- on the couple’s work. In this way, tion which can act as a showcase Career the film public at Annecy gained a for the latest and greatest in this rare insight into Nag Ansorge’s expe- branch of the seventh art. The fes- riences with animation in a psychi- tival and the market, like animated Connection atric environment. filmmaking and the economics of Of course, Annecy is more than the industry are inextricably linked. just a festival that takes place every And the rendezvous is in Annecy. The On-Line two years. We carry out a whole Animation range of archival activities and have Animators are not just film- set up a database for animation, makers, they are also artists, Job Fair: together with a museum of anima- painters, illustrators, puppet tion artifacts. makers, graphic designers and I agree, Annecy is immense; but sculptors. Now it is only as big as the animation Open For world wants it to be. You can’t stop Everything is possible in people from coming here, nor Annecy—you simply have to try it.. Business! should you. The festival and MIFA We’ve got a giant outdoor screen have grown just has animation has complete with its own fairy tale grown. It’s true that, during festival mountain backdrop, star-filled sky time, Annecy is one big animation and shimmering lake which pro- city, throbbing with artists, students, vided a magic moment for Fantasia - Recruit! producers, distributors, investors back in 1993! Not only did we have and buyers. 8,000 spectators nightly, but there - Post Your was even one filmmaker who orga- nized an impromptu screening of Resumé For his work on the back side of the screen! Of course, you also get Free!

your fair share of drama too; for http://www.awn.com/career instance, directors will refuse to email: [email protected] show their films in the panorama section, because they had not Currently Recruiting: been selected for competition. But Annecy is fun, with plenty of off- screenings and parties. Can you Nag Ansorge imagine the effect that 5,000 film Courtesy of Annecy Festival professionals have on a town of Is Annecy going to become an 50,000 inhabitants? And how is all annual event? possible? Through the positive, [I hope so.] It is exactly what I unflinching support that the festival have been trying to do since 1989! receives from the animation com- Animation has changed so radical- munity. ly since the festival was set up in the —Translated from the French by early 1960s, that it is simply Christopher Mason inevitable. Thirty years ago, it took months, even years to make a short Annick Teninge was, for six film lasting a few minutes. years, the Assistant Director of Nowadays, you can put out a new Annecy. 13 x 13 minute TV series in just six

ANIMATION WORLD MAGAZINE January 1997 19 Rendez-vousRendez-vous àà Annecy:Annecy: InterviewInterview avecavec Jean-LucJean-Luc XiberrasXiberras par Annick Teninge J’ai fait découvrir au public local les ifestation où les professionnels, les oeuvres de réalisateurs tels que auteurs pouvaient se rencontrer et Saura, Fassbinder, Herzog Wenders tranquillement boire une bière à la et Cassavetes, qui étaient peu con- terrasse du vieux Casino. nus a l’époque. A la fin des années Pendant 20 ans, le Festival a été 1970, j’ai créé une grande salle de organisé depuis un bureau perma- spectacles vivants (musique, danse, nent installé à Paris, avec l’aide pré- théâtre) où l’on a pu accueillir des cieuse du Ciné-Club annécien (un spectacles du Living Theater et du des plus importants cine-clubs fran- Jean-Luc Xiberras Courtesy of Annecy Festival Bread and Puppet Theater, ainsi cais, qui comptait entre 4000 et e Festival d’Annecy est la plus que des opéras tels que Carmen 5000 adhérents). En 1982, le conseil ancienne et peut-être la plus de Peter Brook. d’administration du Festival trouvait prestigieuse de toutes les man- qu’il fallait changer de direction et L Qu’était le festival à votre arrivée se tourner vers l’avenir. Il souhaitait ifestations consacrées au cinema d’animation, à l’origine de toutes les et quels changements majeurs également utiliser au maximum les autres. Annecy a également été le avez-vous apporté dans l’organi- structures culturelles d’une ville telle premier à créer un marché du film sation? qu’Annecy, qui est ainsi devenu le d’animation. Il est aujourd’hui ques- J’ai été sollicité pour prendre la bureau permanent du festival. Pierre tion de rendre le festival annuel — direction du Festival d’Annecy en Jacquier, qui avait succédé à Charles la plupart des autres festivals ont lieu septembre 1982 ; le laps de temps Bosson à la présidence du Festival les années “sans” Annecy. Une inter- pour préparer l’édition 1983 a été disait “ La ferveur et le dévouement view avec Jean-Luc Xiberras, extrêmement court. J’ai eu de la de 1’équipe du Ciné-Club n’avait pas directeur depuis 1982, pour en chance — j’ai pu bénéficier du nou- faibli, ni le travail et la compétence savoir plus sur le festival et son vel équipement culturel de Bonlieu des organisateurs parisiens. C’est directeur. qui avait été inauguré en 1981. 1’environnement qui changeait, les Auparavant, le Festival d’Annecy Quel a été votre parcours jusqu’à avait lieu dans I’ancien Théatre- Annecy? Casino. J’ai commencé ma carrière pro- En 1981, 300 à 400 personnes fessionnelle dans les années 60 avaient participé au Festival. C’était comme animateur-directeur un chiffre énorme à 1’époque, Le d’équipements socio-culturels. Dans Festival d’Annecy montrait surtout les années 70, j’ai pris la charge d’un des courts métrages d’auteurs. I1 n’y équipement plus important, ce qui avait qu’une salle de cinéma, une m’a permis de développer des spec- projection quotidienne de films en tacles vivants et de créer une des competition, une ou deux rétro- premières salles d’art et essai en spectives et une seule exposition. Le Cannes 1958: Norman McLaren, Joy Festival était percu comme une man- Batchelor, Paul Grimault, John Halas dehors de Paris, en Haute-Savoie. Courtesy of Annecy Festival

ANIMATION WORLD MAGAZINE January 1997 20 tégrer toutes les techniques d’ani- posants francais, quelques mation dans la compétition, y com- européens et presque pas d’améri- pris les nouvelles technologies, qui cains. On a progressé d’édition en étaient très mal vues par les tradi- édition. tionnalistes de 1’époque. En 1987 nous avons pu agrandir le MIFA et avons construit un Pourquoi la création du Marché? chapiteau dans le jardin de Bonlieu Etait-ce une nécessité ; en 1989 la surface d’exposition a économique? Avez-vous été un été portée à 2000 mètres carrés, sur pionnier? le Pâquier. En 1991 le MIFA s’est Nous avons commencé à tra- installé au nouveau centre de con- vailler sur l’idée de créer un marché férences dans les locaux de l’Impérial Stand Softimage au MIFA du film spécifiquement consacré à Palace ou nous avons monté un Courtesy of Annecy Festival l’animation en 1983, même s’il n’ex- chapiteau de 2000 mètres carrés. attentes du public, les conditions de istait pas une véritable industrie de Ce fut la même chose en 1993. production et de diffusion. Le festi- l’animation à ce moment-là. On 1995 a été l’apothéose avec un val tournait rond mais il tournait un nous disait que c’était utopique. A chapiteau de 3 000 mètres carrés et peu en rond ; i1 devenait le sanc- 1’époque les auteurs qui venaient à toute la surface du centre de con- tuaire du film d’auteur, parfois sus- Annecy avaient beaucoup de mal à férences de l’Impérial, salons et salles pect d’un certain académisme, con- montrer leurs filrns en dehors du de conférence compris. Ce fut égale- tourné par les nouvelles fonctions Festival. Donc, en 1983, nous avons ment l’année des majors américains du cinéma d’animation, les nouvelles créé une sorte de mini-marché dans qui se sont rendus en masse a cinématographies, les nouvelles la Salle Eugène Verdun à côté du Annecy . technologies, les problèmes Théâtre. 11 y avait quelques tables Je comprends pourquoi tant économiques.” à trétaux, des sociétés de matériel d’autres organismes cherchent Ce changement d’orientation (crayons, gouache) et un petit nom- actuellement à créer des marchés avait créé une fracture dans la com- bre de producteurs qui osaient du film spécifiquement consacrés à munauté des animateurs en France, afficher leur nom et essayaient de l’animation. Nous avons passé 10 ce qui a rendu mon travail d’autant rencontrer des créateurs. C’était très ans à lutter pour prouver qu’un tel plus difficile lorsque je suis entré en informel, très artisanal. Mais ce mini- marché existe. fonction en 1982. Je n’avais pas une marché nous a permis de constater grande connaissance de l’animation qu’un besoin existait. Comment le Festival a-t-il à 1’époque — cependant j’ai tout En 1985 nous avons pu créer le evolué? de suite compris qu’il fallait aug- premier MIFA avec l’aide du ministère Le festival a évolué en fonction menter le nombre de salles et utilis- de la culture qui avait lancé le plan de la réalité économique et des er le potentiel qui existait déjà à “Image” afin de Annecy, Donc, en 1983, nous soutenir l’industrie de sommes passés à 6 salles et avons I’animation. I1 y avait multiplié par trois le nombre de pro- très peu de produc- jections de films en compétition. Je teurs européens de voulais que le Festival devienne une TV présents dans ce véritable fête de l’animation. J’ai aug- marché à 1’époque menté le nombre d’hommages et — les productions TV de rétrospectives. Dès 1983, nous étaient dominées par avons commencé à présenter 8 à 9 les japonais et les hommages et rétrospectives et 4 à 5 américains. Le pre- expositions. J’ai été très surpris de mier MIFA en 1985 voir 1300 professionnels venir à était sur 500 mètres Annecy en 1983. Nous avions pu carrés, avec de véri- relever le défi. tables stands. I1 y avait beaucoup d’ex- Vue exterieure du MIFA Ensuite nous avons décidé d’in- Courtesy of Annecy Festival

ANIMATION WORLD MAGAZINE January 1997 21 changements artistiques intervenus Nous proposons des program- dans le monde de l’animation. mations de cinématographies peu A partir de 1985, nous avons connues, telles que celles de commencé à inclure les séries TV, les l’Albanie, l’Inde, la Chine, I’Amérique publicités et les films de commande Latine et I’Afrique du Sud. dans la compétition. Cependant, Dans le même esprit, nous nous nous sommes rendus compte organisons des expositions afin de de la nécessité de faire sé1ectionner mettre en évidence toute la richesse les différents genres par différents des créateurs de films d’animation. Vue du MIFA comités de sélection. I1 est très dif- Courtesy of Annecy Festival Les animateurs ne sont pas de sim- ficile de juger ensemble les courts attendons 5000 participants pour ples cinéastes — ce sont des artistes métrages, les longs métrages et les 1’édition 97. Cette augmentation à part entière : peintres, illustrateurs, films pour la télévision. correspond à 1’explosion du ciné- sculpteurs, graphistes et inventeurs En 1987 nous avons donc ma d’animation à travers le monde. de techniques — du cellulo à l’ani- décidé de créer 2 comités de sélec- Bien sûr, cette évolution a provoqué mation assistée par ordinateur, en tion différents mais nous avons beaucoup de grincements et beau- passant par le sable, 1’écran d’épin- retenu la même programmation coup de critiques. Mais il y a eu gles, la peinture sur verre, la pâte à unique de films en compétition. Ceci également beaucoup de joie. Nous modeler... présentait des difficultés pour les sommes passés de 350 films présen- Chaque année nous essayons spectateurs qui avaient du mal a tés à la sélection en 1983 à 1236 en d’organiser une rétrospective com- regarder un mélange de films de 1995, et nous ne savons pas encore plète de l’oeuvre d’un animateur par- commande et de télévision avec des combien de films nous recevrons ticulier. En 1995, nous avons con- films d’auteurs. pour Annecy 97. En général le nom- sacré une rétrospective, une expo- Nous avons ensuite modifié la bre de films soumis à la sélection sition, une publication, des con- programmation pour organiser des augmente de 200 par édition. férences et une cassette vidéo à projections par genre — courts Ce qui est important c’est de l’oeuvre de Gisèle et Nag Ansorge. métrages, longs métrages, produc- découvrir et de favoriser 1’émer- Le public a ainsi pu découvrir en pro- tions TV et films de commande, mais gence de nouveaux talents. Dans fondeur le travail original effectué sans créer des jurys différents, ce qui ce but nous avons créé en 1995 une par Nag Ansorge en milieu psychi- a été une erreur car les membres du nouvelle compétition pour les films atrique. jury rencontraient les mêmes prob- d’étudiants et de fin d’études. Nous Annecy est plus qu’un Festival lèmes et avaient du mal à juger y sommes très attachés. proprement dit — Nous avons mis divers genres ensemble. en place un centre de documenta- En 1985, nous avons encore Quelle réponse apportez-vous à tion et un musée du cinéma d’ani- modifié le système et introduit des ceux qui reproche à Annecy son mation. Nous avons également créé prix spécifiques pour chaque genre, gigantisme? une immense base de données qui sans toutefois renoncer à un seul Bien sûr le Festival d’Annecy est sert de mémoire pour l’animation. Grand Prix. Cela a très bien fonc- devenu très grand. Il y a tionné en 1993 mais en 1995 les beaucoup de pro- jurys n’ont pas réussi à se mettre grammes. Pour certains d’accord sur le choix du film et il y a cela est extrêmement frus- donc eu 2 ex-aequo. Nous avons trant car on n’a pas le modifié le règlement pour Annecy temps de tout voir. Un fes- 97. Chaque genre aura son Grand tival comme celui d’Annecy Prix et autres prix/mentions. se doit de proposer une Le nombre de participants au programmation extrême- Festival d’Annecy est en augmenta- ment diverse pour répon- tion constante. En 1981, i1 y avait dre aux attentes également 340 professionnels présents au très diverses des profes- Festival. I1 y en avait 1300 en 1983, sionnels et amateurs de et plus de 4000 en 1995 — Nous Annecy, le Chateau et le lac cinéma. Courtesy of Annecy Festival

ANIMATION WORLD MAGAZINE January 1997 22 Quant au gigantisme du Festival de fond la montagne et les étoiles. d’Annecy, c’est les gens qui l’ont fait En 1993 nous avons créé 1’événe- ainsi. Nous ne pouvons et nous ne ment avec une projection magique voulons pas empêcher les profes- de Fantasia devant 8000 specta- sionnels de venir à Annecy. Le teurs. I1 y a même eu un réalisa- Festival d’Annecy est devenu le teur qui a trouvé un moyen original grand rendez-vous du monde de de faire connaître son film : il l’a pro- I’animation — animateurs, étudiants, jeté de l’autre côté de 1’écran! producteurs, distributeurs, investis- Parfois il y a des drames — tels le

seurs et acheteurs — et la ville une Nag Ansorge refus de certains cinéastes de véritable mégapole de l’animation. Courtesy of Annecy Festival présenter leurs films en panorama tion annuelle pour faire un bilan de parce qu’ils n’ont pas été retenus Annecy deviendra-t-il annuel? l’art et pour montrer tout ce qu’il y pour la compétition. Annecy est Je défends cette position depuis a d’innovateur et de dynamique aussi très fun — ii y a des pro- 1989. Le monde de l’animation a dans le cinéma d’animation. Le grammes off et des fêtes. Imaginez beaucoup changé depuis la créa- Festival et 1e MIFA sont deux pôles 1’effet de 5 000 professionnels du tion du Festival dans les années 60. complémentaires. On ne peut pas cinéma sur une ville de 50 000 habi- A cette epoque, il fallait des mois, avoir l’un sans l’autre. Certaines tants! Et toute cette magie est pos- voire des années, pour faire un film organisations cherchent à imiter ce sible grâce à la complicité qui existe de quelques minutes. Maintenant que nous faisons mais Annecy reste entre le monde de l’animation et le on est capable de faire une série TV le rendez-vous de l’animation. Festival d’Annecy... de 13 x 13 minutes en 6 mois! Les conditions de production et En conclusion...? Annick Teninge a été pendant 6 1’économie du monde d’animation Tout est possible à Annecy — il ans l’adjointe du directeur du sont totalement différentes aujour- suffit d’essayer. Nous avons un écran Festival d’Annecy. d’hui. On a besoin d’une compéti- géant devant le lac avec pour toile We’re on the Internet! http://www.A-G-E.com

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ANIMATION WORLD MAGAZINE January 1997 23 TToo BeBe oror NNotot TToo BeBe AnAn ASIFASIFAA-- SSanctionedanctioned FFestivestivalal

by Chris Robinson

his article, by the director of boy’s club,” seemingly more con- has ultimately led the festival to the Ottawa Animation Festival cerned with the prestige and ben- consider withdrawing from ASIFA. Tbrings to the surface a num- efits of their position than with Despite repeated attempts to com- ber of long-standing complaints actively promoting “the art of ani- municate with the board in regarding the relationship between mation.” Gutsy and altruistic initia- Annecy, Holland and Zagreb, with ASIFA-Internatiional and the major tives have given way to stagnant the exception of a few individuals, international festivals they sanction. diplomacy. For example, recent fes- it did little to inquire, advise, or As such, we would like to invite tival reviews seemed to have been assist with Ottawa 96, let alone comments from all interested par- based on the hope of return invi- respond to my concerns about ties, whether they agree or dis- tations rather than honesty, and ASIFA’s relationship with the festival agree with Robinson’s point of the ASIFA children’s rights work- and its overall role in animation. view. shop (children are asked to make Just prior to Ottawa 96, ASIFA films based on issues adults think finally contacted us. Unfortunately, Since its beginnings in 1960, all they wanted was to take ASIFA-International has taken advantage of the ASIFA rule that great strides in ensuring the obliges festivals to cover all continuous development of the board members’ accommoda- “art of animation.” Through its tions and pass expenses.(Rule sanctioning of festivals, creation 7c: “Each festival must invite the of workshops and retrospec- members of the ASIFA board (22 tives, support and protection of maximum) that obliges festivals independent animators and to cover all board members” their films, the creation of an accommodations and pass archive, and a number of other expenses.) Given that, with a activities, ASIFA has not only few exceptions, board members established some much needed have done nothing to assist the exhibition venues for animators, festival, I found it astonishing but has also shown us just how Logo of the 96 Ottawa Festival that they have the nerve to far reaching animation is as a magically appear and make way of expression for many differ- are important rather than allowing such demands. This was especial- ent cultures. As evidence, ASIFA has them to express their own opin- ly frustrating in light of the severe evolved from one organization into ions), reeks of a stifling political cor- government cuts that the festival many, with branches springing up rectness. was forced to absorb this year. In all across the world. Yet some 37 My recent experiences with the anticipation of these cuts, we did years later in a drastically altered organization, as director of the our best to avoid letting them world, ASIFA-International appears Ottawa International Animation affect the quality of our program- to have lost its way. This once Festival (one of five sanctioned fes- ming. and looked elsewhere for active and energetic association tivals), have not only reinforced my cuts. (E.g., we hired less staff and has become a bureaucratic “old feelings about its stagnancy, but reduced the size of the Selection

ANIMATION WORLD MAGAZINE January 1997 24 Committee from five to three.) enforced. At Zagreb 96, for exam- don’t you do this? Why don’t you When the cut became official, the ple, its organizers, apparently with- do that?). These demands were other obvious area to cut was the out the Selection Committee’s con- made, without any offers to assist, board invitations rule. Despite a sent, put a couple of dreadful local by people who had no real grasp detailed written explanation to the films in competition to boost the of the organizational structure ASIFA board, one board member studio’s morale. The rules (5E) clear- behind the festival. Like children at remained insistent that he be invit- ly state that all “[d]ecisions . . . are Christmas, they don’t care how ed. He immediately called a col- final and no limitations shall be they get the gift, as long as they league, who then complained to placed on them for aesthetic, eth- get it. And even then they some- me and insisted that I invite the ical, or political reasons” (a naive times still find something to com- board to the festival. So much for expectation, but a rule nonethe- plain about. For example, at our artistic mandates. less). To make matters worse, an expense, we offered ASIFA-Canada ASIFA board member was on this a page on our Web site. Within a committee. To my knowledge, week, an angry email arrived com- This once active and energetic nothing has been done to address plaining about some of the errors association has become a this flagrant rules violation. on the page. A page they wrote. bureaucratic “old boy’s club,” But Zagreb is not alone. All The problems with ASIFA- seemingly more concerned ASIFA festivals violate the rules. And Canada extend well beyond the with the prestige and benefits this perhaps says more about the festival. What appears to be a of their position than with rules than the offenders. national association is in reality a actively promoting “the art of The ASIFA board recently Montreal-dominated chapter that animation.” revised its rules without any festi- is far too closely linked with the val directors being present. Given National Film Board of Canada to Now I must say that, in the that festival directors likely know actually reflect and promote the end, this seemingly disruptive more about the structure and con- many independent animators scat- member turned out be very help- text of their event then the board, tered throughout the country. (The ful. Nevertheless, I am baffled by and that the five festivals exist on recent creation of ASIFA-Vancouver the hypocrisy of an association three different continents, this is was in part a response to this prob- whose mandate is to promote simply a ridiculous course of action. lem.) There are independent ani- independent animators and the You simply cannot create a uniform mators in Canada that don’t work “art of animation.” Money that set of rules for events that are for the NFB and, if ASIFA mandate could have been used to maintain themselves subject to very differ- has any meaning, their concerns ASIFA’s “mandate” was instead redi- ent social, economic and political should be a priority over a gov- rected to accomodate individuals contexts. Hence, the transgression ernment funded (albeit decreasing) from ASIFA-International and ASIFA- of rules. studio. Canada who did absolutely noth- ing for the festival. ASIFA-Canada Unbelievably, one board mem- Unfortunately, these problems All ASIFA festivals violate the ber, who upon arrival discovered are not limited to ASIFA- rules.And this perhaps says a minor problem with his hotel International. ASIFA-Canada, who more about the rules than the started screaming at festival staff were slightly more active in assist- offenders. and volunteers. Now this might ing Ottawa 96, nevertheless exhib- appear to be petty gossip, but in ited the same characteristics. Added into the mix is the rou- my opinion these seemingly minor Despite having being a member tine ASIFA-Canada/International actions merely reinforce ASIFA’s pet- for the past two years, I have, with post-festival commentary, which is tiness and stagnancy. one exception, never been told generally a naive response that crit- when meetings occur. During my icizes and applauds the festival The State of the Rules one and only meeting with the without any real context. For exam- The second issue is the state of board, like children writing letters ple, Ottawa 96 was accused by ASIFA festival rules. They exist in to Santa Claus, they started recit- some of being too corporate. With theory, but are actually rarely ing from their wish lists (i.e., Why a fuller of understanding of the dif-

ANIMATION WORLD MAGAZINE January 1997 25 ficulties facing us, accusers might Despite these complaints, the Ottawa organizers were not over- have learned that without corpo- relationship between ASIFA and ly enthused about creating a more rate support, there would have Ottawa carries a long history, and corporate festival, but we had little been no festival. (In fact, the suc- it would be foolish to cut these ties choice. While other festivals can cess of Ottawa 96 has enabled us without first attempting to mend seemingly do without corporate to create a much-needed them. In response to these prob- support ˛(e.g., Zagreb), Ottawa International Student Animation lems, Ottawa organizers have exists in a completely different Festival.) This is not to say that come up with some alternatives. geopolitical context. If we are to Ottawa 96 was perfect, it wasn’t. For an ASIFA board member remain the most relevant anima- But a more acute grasp on the con- (International or Canadian) to tion festival in North America, we texts of each event would make for receive free accommodations must reflect both the artistic and more informed opinions, positive and/or passes, they will have to industrial nature of this medium. or negative. either find a sponsor to cover their Like it or not, animation consists of costs, or work for the festival. This art and industry, to ignore one is work could include curating and to deny the entire history of ani- The relationship between organizing retrospectives and/or mation. ASIFA and Ottawa carries a workshops, or simply working as As we approach the end of the long history, and it would be a staff member during the festival. century, there is great excitement foolish to cut these ties with- Secondly, festival directors must about the variety of new avenues out first attempting to mend have a say (and vote) in the cre- open to animation. But whether them. ation or revision of festival rules ASIFA will catch up depends on its from the beginning. The ASIFA ability to escape from its 1960s Surving Without ASIFA? board is simply not equipped to ideals, break free from its bureau- At this time, I believe the fully understand the structures, cratic tunnel vision, and evolve into Ottawa festival could easily survive problems and contexts that are a more active, assertive association without ASIFA, and this should be unique to each event. Finally, the that truly reflects the diversity of of grave concern to the board. ASIFA-International board would this complex and always changing Since Ottawa 88, entry and spon- do well to break up the “old boys’ world. It also depends on you. sorship levels have increased each club.” This “club” has increasingly them. year. While ASIFA certainly assisted alienated the younger generation Ottawa in its early years, being a by not better informing and involv- sanctioned festival has not played ing them in the ASIFA process. Most a significant role in these increas- of us have no idea how one es. It is doubtful that either of these becomes elected to the board, let components will be affected if alone when actual meetings occur. Ottawa loses ASIFA’s approval. In a The medium is becoming increas- time of drastic government cuts to ingly dominated by a younger gen- the cultural sector, the state of the eration whose concerns are not Chris Robinson is Executive industry more than anything else being adequately represented. If Director of the Ottawa determines the success or failure ASIFA is to be of any service, it must International Animation Festival of the festival. If Ottawa is now reflect this new generation. and the International Student considered one of the top anima- These are merely a few sug- Animation Festival of Ottawa, tion festivals in the world, thanks gestions based on my perspectives which will take place in should go to its staff and volun- from the Ottawa festival, I am cer- September 1997. In addition to teers; to the North American com- tain that there are other stories and writing articles on film and ani- panies who have supported us; to suggestions. To ensure that these mation, Robinson organizes a the few remaining government words expand beyond the screen, bi-weekly series of underground supporters who, in the face of mas- it is essential that a dialogue be film screenings in Ottawa. sive cuts, continue to acknowledge establishedÏamong ASIFA members the national and local importance and interested parties to discuss of the festival; not to ASIFA. the future of this association.

ANIMATION WORLD MAGAZINE January 1997 26 Festival Programming

by Otto Adler nimation is a serious, inde- Selection and Program Planning has been strictly observed; I think pendent form of artistic These ideas about animation this is a good thing, since the imbal- Aexpression which has its own and festivals are something I always ance between the number of men place between film and the fine arts. keep in mind when I am picking and women in animation still seems Animation is a medium which, due films and organizing a festival. Over a lot more normal than found in to its primarily visual character, can the years, I have had the opportu- documentary or live-action films. be understood beyond any bound- nity to gain a wide range of some- The basic problem with these aries put up by language. times contradictory experiences in selection committees lies in the fact Animation is “the most direct way these fields. But, it is my opinion, it that, in the end, the result of their from a thought to a picture and of is impossible to develop a definitive work always consists of half-hearted a picture to a thought.” By having plan or an universally applicable compromises. Thus, the represen- access to every single image, the strategy for the selection of films or tative from Austria or Russia would filmmaker is obliged to handle the not like to go home images critically. In contrast to live- without having at least action fictional and documentary one of their country’s films, animation, above all, does not films in the program. aim to produce a photographic Or perhaps a puppet image of reality. Animation means or experimental film- creating or breathing life into inan- maker might insist that imate (or dead) things. It is the puppet or experimen- purest form of cinematic art. tal films be represented Festivals serve the same purpose in an appropriate way. as exhibitions do for the fine arts. And then there is the They are a place of professional dis- director of an anima- cussion and confrontation. To me, tion program who festivals are temporary museums, Shadows in the Margerine. wants an adequate where the audience, by having a programs, which can claim to be number of his school’s films shown, close look, helps the films make their generally valid. Festivals mainly because this would have an impor- final step into existence. No audi- leave these decisions to selection tant effect on the continued exis- ence, no film! Animation festivals are committees and juries. It hardly ever tence of his educational institute. like a market place, which is the happens that the selection is ever And so on. Very often, these are the public. They are places of commu- left to just one person. problems the committees have to nication, entertainment and joy. deal with instead of questions of Festivals have to be like oases in the Committees artistic and ethical values and the desert of everyday life. Festivals usually choose the content of the films. members of their selection commit- Decisions made by committees tees and juries. They often take have yet another disadvantage: The basic problem with these great care that the people they pick their members often like to hide selection committees lies in come from as many different coun- behind the group’s judgment, there- the fact that the result of their tries as possible and enjoy a good by avoiding having to voice their work always consists of half- reputation in the animation com- own opinions. Still, it is always a real hearted compromises. munity. Recently, even the number pleasure for me to be a member of of women picked for committees a jury or selection committee

ANIMATION WORLD MAGAZINE January 1997 27 (although payment is usual- the same tech- ly rather minimal). Over the nique one after years, I have learned to hone another. my own vision of the art of • Its length animation and to stand up should not for them in discussions. exceed 75 min- utes. When Only One Person is • Structuring Responsible for the these 75 minutes Selection according to the This is the form of selec- rules of classical tion I prefer. There is no dramaturgy. doubt in the minds of the • Putting an filmmakers, the press and the outstanding film audience who is responsible. at the beginning I cannot hide behind the and the end of opinion of the majority of the JVS Olla (Condom) each program. committee. Should I make three times. • The first film mistakes, I only have myself to • If possible, I see the films pro- on the program has to mobi- answer for them. But the most jected on a screen, not on lize the sensory perception important point is the fact that the video. of the audience. content, aesthetics, structure and • I talk with the filmmakers. • The important fact that a film composition of the program bear a • Content and aesthetics have pri- should never outdo the film clear mark and cannot be diluted ority over technique. it comes after. by compromise. • To me, in most cases, the sub- The disadvantage for me is hav- ject of a film is more impor- But I have to be honest. All these ing to rack my brains for several tant than its technical profi- criteria are completely theoretical. days over the selection of the films ciency. In practice, it works like this: when and about the order in which they • I see my respect for the great a film touches me emotionally, it has will be shown, and not being able masters in relative terms. good chance of being shown. And to sleep for fear of having made a • Rather the exciting film from a this is, by the way, the only criterion mistake and having treated the film- newcomer should be cho- I can rely on and do rely on. makers unjustly. However, I have sen than a boring one from been practicing this means of selec- a known star. tion for the Leipzig Festival for the • I do not take proportional rep- last four years, with considerable resentation of the different success for the filmmakers, the audi- countries into consideration. Otto Adler is the former director of the Stuttgart International Festivals serve the same pur- Planning the Program I Direct Animation Festival, was pose as exhibitions do for the My Attention On . . . involved with the founding in fine arts.They are a place of • Confronting the traditional with 1995 of the Fantouche Festival, professional discussion and the modern. in Baden, Switzerland, a mem- confrontation. • Putting the films of well-known ber of the Advisory Board for and young filmmakers face ence and the festival! the Ottawa International to face. Animation Festival, has served • Comparing the old with the on the juries and selection com- When I Make the Selection, I Try new. to Observe That . . . mittees of numerous festivals, • Coordinating the order of the and is now working on a docu- • I have enough time to reflect on films according to their con- every single film. mentary film about Russian ani- tent. mator Fedor Khitruk. • I watch the films at least two or • Not putting films made using

ANIMATION WORLD MAGAZINE January 1997 28 ConfessionsConfessions ofof aa FestivalFestival JurorJuror by Maureen Furniss tor Stephen Barnes. The three of us that subjectivity was based on years began the process of watching the of experience in creating, analyzing thousand animated works, ranging and/or teaching animation. What from 10 seconds to 30 minutes in we “liked” in the screenings was less length, beginning Monday, July 8 reflective of our personal tastes than for 10 hours a day for 5 days and of some mutually observed standard then for 4 hours a day for another of “successful” animation. Although 3 days. I am usually more drawn to exper- imental work, there were straight Selective Viewing narrative films I felt very strongly We managed to do this, in part, about. Stephen and Andy, who through “selective viewing.” At least seem more oriented toward repre- half the productions submitted, I sentational images and story lines, Maureen Furniss would guess, were turned off were riveted by more than one before they had ended. Those abstract, non-narrative film. But etting a film or video into a under five minutes had the best despite all of our differences, the major international festival chance of being seen all the way, three of us almost always arrived at like Ottawa is tough. For G though even some instance, fewer than one out of 10 of these never made films (approximately 80 out of near- it past the three ly 1000) submitted to last year’s minute mark. Time Ottawa International Animation constraints and our Festival were selected for the offi- desire to showcase cial competition and another 20 or only the most so made it into noncompetitive impressive works screenings called panoramas. motivated us to turn (Panoramas generally contain works off anything that of interest that are not thought to obviously was not be “competitive” for prizes. going to make the Last year, I served on the Ottawa cut. ‘96 selection committee along with Subjectivity British 2D animator Andy Wyatt and played a large part Canadian computer in our decisions, but DaDa by Piet Kroon. animator/Sheridan College instruc-

ANIMATION WORLD MAGAZINE January 1997 29 them in trying to impress selection committee someday may us, or was just careless. be in a position to hire you, show Some people/organiza- your films elsewhere, write about tions entered more than you, or deal with you in other ways one production and put on a professional level. In any case, all of them on one tape. please remember that it is poor form This caused problems to call, write or email the festival when we wanted to director and committee members bypass a title and move to complain if your film was not on to the next one, or to selected. The person you contact in return to it for a second fact may have really liked you and look. If we could not find your work, and is likely to be offend- something after a few ed by the suggestion that he or she minutes, we put it aside. exercised poor judgment. Part of making a good impres- Another important point: sion on the selection committee do not count on your comes with taking care to create a cassette always remain- strong soundtrack. A large number ing in its box and/or of films submitted were incomplete, being accompanied by particularly in regard to audio. With its entry form. We occa- 80 slots to fill, there was little chance sionally had little or no we would consider any production idea what we were lacking a soundtrack, no matter The Sandman watching because a who made it or how much the same conclusions about the video (particularly a late “promise” it seemed to hold. Pay “competitiveness” of any given entry) was not clearly marked. Each attention to sound design early in work. By the end of the screening entry should be labeled with the the production process, to assure process, we were able to articulate title, filmmaker’s name, country of that visual and aural elements are several points that seemed to char- origin, category and running time. fully intertwined and of equally high acterize the works we watched to Also, be sure that you have entered value. Poorly-recorded sound and the end (and possibly considered the proper category. I can’t tell you unprofessional voice-overs were for competition. It is these points how many productions in the “chil- recurring problems. which I would like to briefly sum- dren’s” category were clearly inap- marize, for the benefit of first-time propriate for young viewers (e.g., Time constraints and our entrants, in particular. they depicted children being boiled desire to showcase only the One of the most important fac- or stuck on hooks), how many long most impressive works moti- tors was the first impression. With films were entered in the short film vated us to turn off anything a thousand films to watch, improp- category, and so forth. In some that obviously was not going to erly cued videos quickly became irri- instances, films well over 30 min- make the cut. tating (at one point, I proposed that utes were submitted, despite the we create a prize for the best of the fact that half an hour was the max- color bar formations we saw—and imum running time allowed. The selection committee agreed heard, with ear-piercing clarity). that certain signs could be consid- Some entries were disqualified sim- Making a Good Impression ered “warnings” of poor quality. First ply because we could not find them You may wonder what harm is off, there were the long expository on a cassette filled with other titles done by some of these tactics. notes or apologies written on a cas- that were not even entered in com- Although there may or may not be sette or accompanying materials. It petition. Some entries were pre- any immediate repercussions, the is not a good idea to apologize for ceded by a number of demo-reel possible long-range effects of your your work—if you are worried items and we were not sure decision are worth considering. about its presentation, you should whether the filmmaker had left Keep in mind that members of the consider entering it at a later date.

ANIMATION WORLD MAGAZINE January 1997 30 mitted, longer films attention and run with it. were given particu- Avoid cycling images or using larly close scrutiny holds for long periods, especially at when it came time the beginning of your film. By the to narrow the field. time 30 seconds had elapsed, the committee members began con- Our Two Cents sidering whether a production should be turned off. If nothing Finally, I would like engaging—in terms of character to impart the selec- design, story line, sound, and so tion committee’s forth—had occurred by then, it was “two cents” of likely to suffer a premature death. advice on building By creating even a speck of inter- a better produc- est, a film was likely to linger for at tion, which proba- least two or three minutes. By then, bly is more appro- we expected a building of interest; As You Like It by Alexei Karaev priate for a course if not, an entry was likely doomed. Pointing out the flaws in a written on animation design than an essay Some themes, visual elements note just made the selection com- on the selection process. However, and sounds were greeted with a mittee all the more aware of them. I present these pointers with the high degree of skepticism. Probably Another relates to running time. hope that they may help first-time the most difficult theme for a first Although I do not want to give artists design a production that is film to pull off was one of alienation, away too many “professional successful in festivals. where a solitary character appears secrets,” I can say that more than in murky light in the confines of one groan was emitted after hear- towering, prison-like walls, accom- With 80 slots to fill, there was ing that we were about to view a panied by heavy music or breath- little chance we would consider “first film” that ran for more than 8 ing. We saw this kind of production any production lacking a minutes. Fifteen minute or longer many times, but almost without soundtrack, no matter who first works were highly suspect. In exception the result was rather unaf- made it or how much fact, we found that the majority of fecting. On a similar note, student “promise” it seemed to hold. films running more than 10 min- and first-time entrants often seemed utes—first films or otherwise— too timid or inexperienced with their would have benefited greatly from Be sure to give your work a pro- subject matters. Traditionally sensi- editing. Some films were reluctant- fessional-looking title sequence, tive or taboo subjects, such as ly taken out of competition after an avoiding overly pretentious titles; Christ, extreme poverty, fetuses, etc., idea that would have been great after the second day of viewing, the evoke strong reactions and demand for 3 minutes was extended to 5 committee met minutes or more and just lost the screening of momentum. films bearing Although less of an issue, run- deeply philosoph- ning time also was a consideration ical or cutesy titles in terms of programming. Though with a deep sense we never rejected something mere- of trepidation. ly because it ran close to 30 min- Avoid using long utes, we agreed that a film had to opening titles, be absolutely first rate to merit that which slow the amount of screen time. Our ratio- pace of your pro- nal was that six five-minute works duction at the could be screened in the same time time when you period as a half-hour film. With so most want to many high-quality productions sub- grab the viewer’s Angel Terre de Chair

ANIMATION WORLD MAGAZINE January 1997 31 a high level of control, yet these sub- the rare individual who has strong to even make it into the jects commonly appeared in heavy- strengths in every area, so it is not panorama. But no matter what handed “statement” films. Likewise, surprising that a crew of two or technique is used, it is vital that you there were many instances where more artists with skills in different be brutal with editing during pre- “cheap effects” like gore or sex were aspects of the production process and post-production. Avoid the ten- used, apparently to get the viewer’s is more likely to produce a film that dency to keep in extra footage just attention (but with opposite results). is successful on all levels. Actually, because “it took a whole weekend If you have a strong inclination to this advice applies not only to to do,” “it cost me a bunch of make a film involving sensitive or novice filmmakers, but also to more money,” or “it looks really cool.” We difficult elements, be sure to study experienced animators whose have all been there, but it still does many other “recognized” works entries sometimes seemed unin- not work. There is a lot of truth in made on similar subjects. On the spired, or too reliant on worn-out the statement that many films can other hand, students should be techniques. A fair number of entries be “saved in the edit.” careful about using derivative imagery and Having said all this, I story lines, particularly if hope you found the title they have been heavily of my article to be influenced by a teacher. intriguing, and its con- Off the top of my head, tent to be both skillfully I can think of two films presented and well-edit- that were omitted from ed (the same criteria I competition because used in judging suc- they very clearly bore The Jury,Annecy 95 cessful works for the reflections of a master animator. were bypassed because they Ottawa). If not, I am sure you Character design and animated seemed only to rest on past laurels; stopped reading this essay well movement were probably the areas we did not feel there was much before the end, which of course is in which most of the films excelled; merit in a repetitive formula appear- your prerogative. However, if you however, in too many cases we saw ing in what might be called a tech- are still reading, please feel free to e- productions that looked fantastic nically-proficient and/or mildly enter- mail comments to me at but had nothing else going for taining film. In some cases, we were [email protected]. them. We often had the feeling that greatly disappointed to not include an artist had no passion for his or the work of a well-known artist, but we felt we had to judge each film on its own merits. Having a “name” Probably the most difficult was not enough to assure anyone theme for a first film to pull off entry into competition, though was one of alienation, where a apparently some people thought it Maureen Furniss is the Editor solitary character appears in was. I was surprised by the number and Publisher of Animation murky light in the confines of of complaints received from anima- Journal, a scholarly journal towering, prison-like walls, tors and institutions citing past based at Chapman University, accompanied by heavy music achievement as a reason why they in Orange, California, where or breathing. should have been accepted into the she is an Assistant Professor in Ottawa festival. the School of Film and her subject, or for some reason The selection committee agreed Television. Animation Journal’s could not articulate those feelings that productions (particularly first home page is through movement, sound or other films) demonstrating a high level of http://www.chapman.edu/ani- important aspects of the produc- technical innovation tended to be mation. tion. given a bit more leeway. In contrast, Some production problems it seemed that a work made with a could be overcome by a greater more traditional (cel-animated) emphasis on working in teams. It is process had to be exceptionally

ANIMATION WORLD MAGAZINE January 1997 32 Brussels,Brussels, TheThe FestivalFestival

by Philippe Moins or many years, Brussels has The Yellow Submarine, René lic, before being a rendezvous for been synonymous with the Laloux’s Fantastic Planet, the professionals. FEuropean Community. The Japanese Bella Donna and the var- capital of Europe is at the same time ious films of Ralph a thousand-year-old city with a mil- Bakshi, animation was lion inhabitants who live and work a very rare commodity there. Brussels is also the site of an in Belgium. It was animation festival which has devel- nonetheless attractive oped its special character in the enough for a handful course of 16 successive events. of film fans to have the absurd idea of creating Animation, for the Festival of an animation festival, Brussels, has never been a little baptized at that time as closed world, where certain “Animation elect ones take pleasure in Conference.” mutual congratulations. That was 1982. The first “conference” At the end of the 1970s, you assembled 1,500 peo- John Lasseter (left) and Tim Burton (center) at the 1984 could count on the fingers of one ple in a little auditori- Brussels Festival. hand the non-Disney animation fea- um of The Capital. The tures that the Belgian public had event proved sufficiently important A Curious Public seen; aside from George Dunning’s for the association which organized We have often said at the festi- it (The Parascholastic Confederation val that we’ve been lucky: The peo- for Official Education) to decide to ple of Brussels demonstrated a fine make it an annual event. sense of curiosity, always ready to Since then the festival has been follow us in our divagations. Not held every year. The name changed blindly, for they recognized the dif- from Conference to Animation ference between the wheat and the Week (from 1984 to 1988), then chaff. But we were always surprised Animation Festival (since 1989). The to see how many people crowded structure also changed: lodged for in line to see the Quay Brothers, a while at an animation studio William Kentridge, David Anderson, (Graphoui), since 1989 it has been Caroline Leaf and many others. organized by Folioscope, a non- Forty years of lowest-common- profit organization for which the fes- denominator TV (to make a gener- tival is its principal activity. If the fes- alization) had not dulled the alert tival now attracts an average of senses of a considerable fringe of 30,000 participants, and is partially the Brussels public, and we were decentralized in two other towns satisfied to know that we con- (Liège and Ghent), it has kept one tributed to this in our own way. essential characteristic from its ori- I confess we always mixed, with Peter Lord at the 1996 Brussels Festival. gins: it appeals above all to the pub- a pharmacist’s care, the big hits, the

ANIMATION WORLD MAGAZINE January 1997 33 concessions to popular taste, the animation; he formed lasting bonds indigenous production, which is new discoveries and . . . the with Brussels. Tim Burton was there one of our specialties. inevitable provocations. Thus, on the same year. His Vincent fascinat- Belgium is composed of three the opening program of one festi- ed everyone, on a program we distinct linguistic communities val, the films of Phil Mulloy were christened “Animation of the 80s.” (French, Flemish and German), so screened side-by-side with more The programs at the Brussels we are (like all composite entities) “polite” fare, and left a very strong Festival have a special taste—it may well acquainted with linguistic and impression on those who saw them seem pretentious for us to say it our- cultural frictions. The Brussels . . . selves, but we really believe it sin- Festival, while French-speaking, has cerely. The never ostracized other communi- absence of a com- ties—on the contrary. Flemish pro- petition gives us ductions are often well-represent- the right to be ed, when their quality fully justifies very subjective in it. Similarly, the festival is conduct- our choices, and ed in three languages: French, not have to make Dutch and English. sacrifices for the sake of being diplomatic. The absence of a competition Undoubtedly Left to right: Chantal Moens (Buena Vista), Doris Clevens (Co- gives us the right to be very Director, Brussels Festival), Marion Lemesre (Brussels city gov- that’s why British subjective in our choices, and ernment), Carl Rosendahl (Pixar) and his wife, Philippe Moins animation has (Brussels Festival), Rich Quade (Pixar) and Michael Dudok Dewit not have to make sacrifices for been so abun- (Richard Purdum) at the Brussels Festival. the sake of being diplomatic. dantly represent- The idea that screenings could ed these last few years. We could- provoke passionate controversy n’t help it: they are often remark- A Nonrestrictive Definition never bothered us! able. And that never hindered us Animation, for the Festival of from showing films from Albania, Brussels, has never been a little Selection Without Competition Mali, Portugal, Ukraine, or . . . closed world, where certain elect From the very beginning of the Belgium. ones take pleasure in mutual con- festival, we made one choice that gratulations. That means, among we have kept right up to the pre- A Showcase for Belgium other things, that the definition we sent: not to have a competition with Why not admit it: we’re happy use for “animation” is not very prizes. This gave us great freedom to be able to further Belgian ani- restrictive: when we find a film inter- with our options, and apparently mation; but didn’t discourage producers or film- things are makers. Quite the contrary. Some clear—in our of them were actually delighted to international discover the reactions of a “true” selection, public. The fact of having, before there is never all else, to account for the economic a question of viability of the festival, has dictated representing certain choices that we don’t have Belgium. On to blush about: Eight years after first the contrary, appearing at Annecy and other fes- the screenings tivals, the Aardman Studios scored a devoted triumph at Brussels with the first ret- explicitly to rospective dedicated to their work! Belgium per- In 1984, John Lasseter was one of mit foreigners our first invited guests: He came to to get some present 30 seconds of computer idea of the Michael Rose (Aardman Animations) at the 1996 Brussels Festival.

ANIMATION WORLD MAGAZINE January 1997 34 Children constitute a good PDI, Pixar, Rhythm & Hues, and fourth of the world audience for fes- Fantôme . . .) fill out a festival on tivals: they come in droves, in the which a team of three people work afternoons, with their parents. We all year long. For the three months always seek ties with the educa- just prior the festival, they are joined tional community. For this type of by many others: at first six, then 12, school screening, we devote the multiplying up to the festival’s open- better part to a feature-length film. ing night! They remain a stable Disney is always preferred, but pro- group until the festival is over (one grams of short films from many dif- hopes, more or less), then the crew ferent countries (introduced by live rapidly returns to its original three. actors) also give a diverse image of Previewing films, finding spon- worldwide production. China and sors, answering letters and return- the countries of Northern and ing prints on time, putting stamps Eastern Europe have always found on tons of letters, dealing with a lot an attentive audience. of people—that’s the daily life of Folioscope. That’s how one anima- Shorts Drawing from Brussel’s “Golden Book.” Every year about 100 short films esting, we would never deprive the are screened at the festival. Some audiences from seeing it under the figure in retrospectives devoted to pretext that it doesn’t belong with a filmmaker, a studio or (less fre- animation in some technical sense. quently) a theme. Beside the great Laurie Anderson’s Home of the classics like Frédérick Back, Paul Brave and Jim Henson’s Dark Crystal Grimault, Yuri Norstein, Jan were thus programed at the festi- Svankmajer or Paul Driessen, we like val—to the great amazement of to turn the spotlight on people a lit- some. tle less known, such as Paul and Menno de Nooijer, Barry Purves, I confess we always mixed, with Marv Newland, Jacques Rouxel, a pharmacist’s care, the big Michael Dudok Dewit, . . . hits, the concessions to popular But the festival’s star programs taste, the new discoveries and . are certainly the official selection . . the inevitable provocations. screenings, where films from the four corners of the globe are shown I still see the look of scepticism without any hierarchy, in programs we got from certain people when we put together based on aesthet- we decided to have a retrospective ics, content and humor. At Brussels, Drawing from Brussel’s “Golden Book.” of computer-generated images, we like films with meaning, films including flight-simulation footage! that have guts—something lacking tion festival lives among others, with That was in 1987, and the films in so many exercises in frame-by- its little troubles and its great emo- were projected in video, which was frame “style.” tions. an another heresy for the purists. —Translated from the French by Since then, who would dare A Staff With Variable Geometry William Moritz exclude computer-generated Expositions (Starevitch, Kratky images from an animation festival? Film . . .), seminars, a studio for chil- . . . dren, “Making of . . .” programs (for Philippe Moins created the But enough memories about the last 10 years, they have already Brussels Animation Festival in old battles . . . included such different people as 1982, and currently co-directs it the Aardman crew, Kihachiro with Doris Cleven. Children Kawamoto, representatives of ILM,

ANIMATION WORLD MAGAZINE January 1997 35 Brussels,Brussels, lele FestivalFestival

par Philippe Moins epuis plusieurs années, en Belgique. Suffisamment attrac- essentielle : Il s’adresse en premier Bruxelles est devenu syn- tive cependant pour qu’une lieu au public, avant d’être un ren- Donyme de Communauté poignée de cinéphiles ait l’idée far- dez-vous de professionnels. européenne. La Capitale de l’Europe felue de créer un festival d’anima- est en même temps une ville millé- tion, baptisé à l’époque naire où vivent et travaillent un mil- “les Rencontres du lion d’habitants. Bruxelles est aussi le cinéma d’animation”. siège d’un Festival d’animation qui C’était en 1982. a trouvé sa spécificité au cours de La première édition des seize éditions. “Rencontres” rassembla A la fin des années soixante- 1.500 personnes dans dix, on pouvait compter sur les une petite salle de la doigts d’une main les films d’ani- Capitale. En soi un mation non disneyens qui avaient événement suffisam- été vus par le public belge : mis à ment important pour part “le Sous marin jaune” de que l’association qui George Dunning, “la Planète l’organisait à l’époque sauvage” de René Laloux, le “Bella (la Confédération Donna” japonais et les divers films parascolaire de de Ralph Bakshi, le cinéma d’ani- l’Enseignement officiel) John Lasseter (gauche) et Tim Burton (centre) au Festival mation était une denrée rarissime décide de la reconduire de Bruxelles 1984. et de lui donner un car- actère annuel. Un public curieux Depuis, le festival a lieu tous Nous nous sommes souvent les ans. Il a changé d’appellation : dit au Festival que nous avions de la de “Rencontres”, il est devenu chance : Le public de Bruxelles fait “Semaine du dessin animé’ (de 84 à preuve d’une belle curiosité, tou- 88), puis “Festival du dessin animé jours prêt à nous suivre dans nos et du film d’animation” (depuis 89). divagations. Pas à l’aveuglette, car Il a aussi changé de structure : il sait séparer le bon grain de l’ivraie. hébergé un temps au sein d’un ate- Mais enfin, nous avons toujours été lier de cinéma d’animation surpris de voir une foule aussi nom- (Graphoui), il est depuis 1989 breuse se presser pour voir les frères organisé par Folioscope, une asso- Quay, William Kentridge, David ciation sans but lucratif dont c’est Anderson, Caroline Leaf et beau- l’activité principale. coup d’autres. Quarante ans de niv- Si aujourd’hui le festival ellement par le bas à la télévision accueille en moyenne trente mille (pour schématiser) n’ont pas anni- participants et est partiellement hilé les facultés d’éveil d’une frange décentralisé dans deux autres villes non négligeable du public bruxel- du pays (Liège et Gand), il a gardé lois, et c’est une satisfaction pour Peter Lord au Festival de Bruxelles 1996. de ses origines une caractéristique nous de penser que nous y avons

ANIMATION WORLD MAGAZINE January 1997 36 contribué à notre manière.. consacrée! John Lasseter fut un de production belge d’animation, mais Il faut dire que nous avons nos premiers invités (en 84) : Il était les choses sont claires : dans notre toujours dosé avec une balance venu présenter trente secondes sélection internationale, il n’a jamais d’apothicaire les “locomotives”, les d’animation par ordinateur; il a tissé été question de sur représenter la concessions au goût dominant, les à Bruxelles des relations durables. Belgique. Par contre, les séances découvertes et... les éventuelles Tim Burton était présent la même baptisées fort explicitement “C’est provocations. Ainsi, une ouverture année. Son ‘“Vincent” fascina beau- du belge” permettent aux étrangers du festival où des films de Phil coup de monde, dans un pro- de se faire une idée de la produc- Mulloy côtoyaient des films plus gramme que nous avions baptisé tion autochtone, qui est une des “gentils” a laissé une très forte “l’animation des années quatre- spécificités de Bruxelles. impression à ceux qui l’ont vécue... vingt”. La Belgique est constituée La program- de trois communautés linguistiques mation du Festival distinctes. (française, flamande et de Bruxelles a une germanophone) Elle connaît, saveur, cela a l’air comme toutes les entités compos- prétentieux de le ites, des tiraillements d’ordre lin- dire nous-mêmes guistique ou culturel. Le Festival de mais nous le pen- Bruxelles, s’il est francophone, n’a sons sincèrement. jamais pratiqué d’ostracisme à l’é- C’est que l’ab- gard des autres communautés, au sence de com- contraire. Les productions flaman- De gauche à droite : Chantal Moens (Buena Vista), Doris Clevens pétition nous des sont souvent bien représentées, (Co-Directeur, Festival de Bruxelles), Marion Lemesre (mairie de donne le droit ce que leur qualité justifie pleine- Bruxelles), Carl Rosendahl (Pixar) et sa femme, Philippe Moins d’être très subjec- ment. De même, la communication (Festival de Bruxelles), Rich Quade (Pixar) et Michael Dudok Dewit (Richard Purdum) au festival de Bruxelles. tifs dans nos choix du festival est déclinée dans trois et de ne pas sac- langues : le français, le néerlandais L’idée que des projections rifier aux dosages complexes de la et l’anglais. puissent susciter des controverses diplomatie. C’est sans doute la rai- passionnées ne nous a jamais son pour laquelle l’animation bri- Une définition non restrictive inquiétés! tannique a été très abondamment L’animation, pour le Festival représentée ces dernières années à de Bruxelles, n’a jamais été un petit Une sélection sans compétition Bruxelles. Nous n’y pouvons rien, monde fermé, où quelques initiés Il y a à l’origine du festival un ils sont souvent remarquables. Et se font plaisir en se congratulant choix que nous avons maintenu cela ne nous a jamais empêché de mutuellement. Cela signifie entre jusqu’ici : celui de ne pas faire de montrer des compétition. Il nous donne une très films albanais, grande liberté dans nos options et portugais, ne décourage apparemment pas les maliens, producteurs ou les réalisateurs, au ukrainiens, contraire. Certains sont d’ailleurs ou...belges. ravis de découvrir les réactions d’un “vrai” public. Une vitrine Le fait de compter avant tout pour la sur celui-ci pour assurer la viabilité Belgique économique du festival a dicté des choix dont nous n’avons pas à rou- Pourquoi ne gir : Huit ans avant leur consécra- pas l’avouer, tion à Annecy et dans d’autres fes- nous sommes tivals, le studios Aardman faisaient heureux de un triomphe à Bruxelles avec la pre- pouvoir met- mière rétrospective qui leur ait été tre en avant la Michael Rose (Aardman Animations) au Festival 1996.

ANIMATION WORLD MAGAZINE January 1997 37 laires. Pour ce type de séance, nous tants d’ILM, Pixar, PDI, Rhythm and faisons la part belle aux longs Hues, Fantôme,...), complètent un métrages. Les Disney s’y taillent sou- festival pour lequel une équipe de vent une part de choix, mais des trois personnes se dépense toute programmes de courts métrages l’année. Elles sont rejointes les trois vraiment internationaux (doublés mois qui précèdent le Festival par en direct par des comédiens) don- beaucoup d’autres : ils sont six, puis nent aussi une image non univoque douze et se multiplient ainsi jusqu’à de la production mondiale. La l’ouverture du festival! Leur nombre Chine, les pays d’Europe du Nord reste ensuite stable jusqu’à la clô- et de l’Est y ont toujours trouvé une ture, du moins on l’espère, puis écoute très attentive. l’équipe revient rapidement à sa dimension initiale. Les courts métrages Bon an mal an, c’est une centaine de courts métrages qui sont montrés dans l’enceinte du fes- tival. Certains figurent dans des Dessins du “Livre d’Or” du Festival rétrospectives consacrée à un réal- autres que la définition que nous isateur, un studio ou (moins avons donnée au cinéma d’anima- fréquemment) une thématique. A tion est peu restrictive : quand nous côté de grands classiques comme jugeons un film digne d’intérêt, Frédéric Back, Paul Grimault, Youri nous n’en privons jamais le public, Norstein, Jan Svankmajer ou Paul sous prétexte qu’il n’appartiendrait Driessen, nous aimons mettre l’ac- pas à l’animation au sens technique. cent sur des personnalités un peu “Home of the Brave” de Laurie moins connues, comme Paul et Henderson ou “Dark Crystal” de Jim Menno de Nooijer, Barry Purves, Henson ont ainsi été programmés Marv Newland, Jacques Rouxel, au festival, à la grande stupéfaction Michael Dudok Dewit,... de quelques uns. Mais la section phare du fes- Je revois encore l’air dubitatif tival est bien sûr la sélection officielle, de certains lorsque nous avons où des films des quatre coins du décidé de faire un programme com- monde figurent sans aucune hiérar- Dessins du “Livre d’Or” du Festival plet d’images de synthèse, avec chie, dans des programmes où Visionner des films, trouver entre autres des images de simula- nous dosons recherche esthétique, des sponsors, répondre au courrier teur de vol! C’était en 87, les films humour et contenu. A Bruxelles, et renvoyer les copies à temps, tim- étaient projetés en vidéo nous aimons les films qui véhiculent brer des tonnes de courrier et Barcovision, encore une hérésie du sens et ont des tripes, ce qui négocier avec des tas de gens, c’est pour les puristes d’alors. Depuis, qui manque à tant d’exercices de style la vie quotidienne à Folioscope. oserait écarter les images de syn- “image par image”. Ainsi vit un festival d’animation thèse d’un festival d’animation... parmi d’autres, avec ses petits tra- Mais trêve de souvenir d’an- Une équipe à géométrie variable cas et ses grandes émotions. ciens combattants... Des expos (Staréwitch, Kratky film,...), des séminaires, des Les enfants ateliers pour enfants, des séances Ils constituent un bon quart “making of” (en plein développe- Philippe Moins a créé le festival de l’audience globale du festival : ment depuis deux ans, elles ont de Bruxelles en 1982 et le co- ils viennent en masse avec leurs par- déjà accueilli des gens aussi dif- dirige actuellement avec Doris ents l’après midi. Nous tissons tou- férents que l’équipe de Aardman, Cleven. jours des liens avec les milieux sco- Kihachiro Kawamoto, des représen-

ANIMATION WORLD MAGAZINE January 1997 38 ManciaMancia MusingsMusings

by Mark Langer

herein the Museum of the history of animation pro- styled “film library” which distrib- Modern Art’s Adrienne gramming at the Museum of uted, among other works, WMancia reminisces to Modern Art and elsewhere, as National Film Board films, the first Mark Langer about her past well as her views on the state of films of the French Nouvelle efforts in animation program- animation programming today. Vague directors (like Truffaut, ming and her thoughts about the Resnais, Marker, Varda and state of the craft today. My film career really began Godard) and British Free Cinema, at Contemporary Films, which which included shorts by Lindsay When I was asked to inter- was headed by Leo Dratfield. He Anderson. Leo Dratfield loved ani- view Adrienne Mancia, veteran was one of the pioneers, along mation and introduced me to Curator—Film Exhibitions at the with people like Tom Brandon of venues like Zagreb, Tours and Museum of Modern Art in New Audio-Brandon, of non-theatrical Oberhausen, where I first was York, I was delighted. This was not only because of Adrienne’s prominence in the field, but also, like many others involved in film programming, I regard Adrienne as a mentor. Indeed, my first experience of an animation fes- tival was in company with Adrienne and Ian Birnie (now programming films for the Los Angeles County Museum) at the old casino at Annecy in the mid- 70s. Adrienne Mancia began at the Museum of Modern Art in 1964 as a secretary and assistant to Richard Griffith, Director of the Department of Film. For over 30 years, she has been an inno- vator in film programming in the Langer Mancia 01 Left to right:Adrienne Mancia, Louise Beaudet, Jacques Drouin, and United States, and a fixture on Helene Tanguay at Ottawa 96. Photo by Candy Kugel. [Guillaume: If you have to crop this juries and at film festivals inter- photo, please leave in Louise Beaudet.] nationally. In light of Adrienne’s particularly strong commitment film distribution in the U.S. able to see animated films. Leo to the short live-action film and Dratfield’s company, was a man who made things animation, I asked her to discuss Contemporary Films, was a self- happen and he was one of my

ANIMATION WORLD MAGAZINE January 1997 39 mentors. belonged to film clubs where I pet animation. And then there Of course, in those days, saw some foreign animation. I were the Russian and Eastern there were controversial and chal- had grown up with American ani- European schools of animation— lenging organizations for film mation. It was a natural part of to be able to tell stories like exhibition in New York. Amos my childhood in America and I Norstein or create mood like Vogel ran Cinema 16, an inde- thought it was for kids. I wanted Svankmajer . . . pendent art society that showed to be an adult. I had to grow up animated films, among other artis- to be able to appreciate American Bringing Them Back to tic movies. Jonas Mekas was the animation. Only later, through the America leader of “underground films”— work that you, Leonard Maltin, I loved these films and I films which championed the Greg Ford, John Canemaker and wanted to bring them back to avant-garde. There was a small others were doing, did I realize America. The first international but active community that sup- how inventive and subversive animation program I did at the ported alternate cinema. classic American animation was. museum was after the Zagreb From there, I went on to appre- Festival in 1972. Zagreb was dif- ciate independent American ani- ferent then, filled with freshness, I thought it was for kids. I mation, such as the Hubleys and vitality and humor. The work com- wanted to be an adult. I had to Jordan Belson. ing from the Zagreb Studio was grow up to be able to appreci- so lively and inventive. I met ate American animation. A Whole New World Louise Beaudet there and we But for me to discover decided to collaborate to bring Then, the job as Richard European animation—it was a these films to North America—she Griffith’s assistant opened and I whole new world. I found it to to the Cinémathèque Québecoise was recommended by Clara be fascinating, challenging and Grossman and Anne Schutzer often bewildering, like the great Louise Beaudet had the best who were active in programming Polish animation. The artistry and animation archive in the world and distribution in New York and craft of a Starevitch or a Trnka was in Montreal and was my guide. Los Angeles. When I first came to a revelation. My interest until then MoMA, very little was being done was more towards animators like in the area of animation. There Len Lye or Robert Breer, both in Montreal and me to New York. was some material in the collec- great artists. The “Best of Zagreb” show tion that Iris Barry had brought to The defining film for me, was a success, and we began to the archive, but little animation that changed my ideas about film bring in other venues, such as work was being added to the col- was not an animated film but Edith Kramer’s Pacific Film Archives lection or exhibited. I felt that this Maya Deren’s Meshes of the in Berkeley and the Museum of was an unfortunate gap in our Afternoon. Later, Len Lye’s work, Contemporary Arts in Boston. activities. Margareta Akermark, although so different, had that Increasingly, there were other who was the Head of the same effect on me. It opened venues that wanted the Zagreb Circulating Film Library, shared my new doors. Much of that came show that Louise and I pro- enthusiasm for short films and ani- through Margareta Akermark, grammed, but we couldn’t han- mation. I couldn’t take care of all who was a friend of Len Lye. At dle the work. We were able to do of it myself, but together we were Contemporary, I first saw the what we could only because able to do a weekly short film pro- work of Norman McLaren, who Yugoslavia would fund cultural gram called “Wednesdays at was a genius. He could do every- activities. The head of the Studio, Noon” in which we would show thing. As the years passed, I dis- Zelimir Matko, was an entrepre- shorts—frequently animation. covered great animators in Japan, neur. He headed sales and mar- However, this program was like Kawamoto whose Dojoji keting for the Zagreb Studio and Margareta’s responsibility and she Temple impressed me. Puppet he helped Louise and I bring the was devoted to it. animators like Trnka, Starevitch films we chose to North America Before coming to and Segundo de Chomon by speaking to various producers Contemporary, I lived in Italy and changed all my ideas about pup- and animators and encouraging

ANIMATION WORLD MAGAZINE January 1997 40 them to cooperate with us. of Beckett and Keaton. His work Annecy” and “Zagreb”, letters of Louise had the best ani- should be shown in New York protest didn’t come pouring in. mation archive in the world in and everywhere. We’re losing venues for certain Montreal and was my guide to all I’m also disappointed with kinds of animation that we need. this. We decided that based on the animators in New York and When cable television came in, I the “Best of Zagreb” show, we the independent film communi- hoped independent animation would do the “Best of Annecy” in ty. When we run these programs, would find a new venue. Instead, alternate years. We also did a they should come out and sup- we have more channels with the “Best of Ottawa” once and two port each other much more. I same old animation, although “Best of Hiroshima” shows. These don’t think they make enough of people like ASIFA-East President programs were always chronical- an effort. There is much that they Linda Simensky are trying to ly underfunded. We would get can learn and enjoy from foreign change that. travel and hospitality by being filmmakers—both independent I’m not pessimistic, but I’m invited to sit on juries, by begging and others. Animators should skeptical. You need people who for hospitality from the festivals or support their own art. Animation care and realize independent ani- sometimes a little from our insti- still isn’t properly appreciated as mation is an endangered species. tutions to cover print transporta- an art in galleries and museums. Russia, the former Yugoslavia and If you mention it to curators, they Czechoslovakia—what are their Frankly, outside of the do not seem to be truly interest- studios doing now? It’s sad. We Cinémathèque Québecoise, I ed. Not that I don’t find com- need a new wave of animators do not know an institution mercial work interesting. I never who produce work we care where the exhibition of anima- looked at The Simpsons seriously about. When you think about tion is a priority. until I looked at two episodes in how much money went into Ottawa. The writing is superb! Pochahantas and what the result Writing won’t do everything. Toy was—I hate the intrusion of this tion, etc. Story is brilliantly written, but I can into festivals. I don’t mind the What I tried to do with the hardly look at it. It’s ugly. Despite recruiting by companies like programming, a little subversive- its three-dimensionality, the visu- Warner Bros. and Disney, but the ly, was to draw it out for a week. als are “flat”—although compared focus in the programming should With the “Best of Zagreb” or to most animation on TV, it looks be on art, rather than on com- “Annecy” as an anchor, we would marvelous. But by my personal merce. also program homages to film- taste, computer animation is not makers or present animation from for me. I’m waiting for it to work. various countries—Japanese ani- I want to look at it and be hit on mation, Khitruk, Pritt Pjarn, and the head and say “Eureka—it so on. We did our “Best of...” until works!” I would like to see talents a year ago. Louise has been in ill like the Quay brothers working health and wanted to retire. This, this way and making it happen. I plus a shortage of funds stopped want a great artist to adopt com- the program. Frankly, outside of puter animation and come up Mark Langer teaches film at the Cinémathèque Québecoise, I with something I can care about. Carleton University in Ottawa do not know an institution where Technique is only a means. If they Canada. He is a frequent con- the exhibition of animation is a have the art in their heads, it tributor to scholarly journals priority. doesn’t matter what technique and a programmer of anima- they use. tion retrospectives. He can be Where Do People Go? As to my work with ani- reached by email at Where do people go for mation in the future, I’m still avail- [email protected]. alternate animation? I don’t know, able to promote animation. If and I am concerned. The Ottawa nobody cares, things disappear. Festival recently did Raimund When we discontinued the short Krumme, who combines the best film programs and the “Best of

ANIMATION WORLD MAGAZINE January 1997 41 Compiled by the Staff of Animation World Magazine o round off our festival issue, Festivals have become important our world into contact with it, and we herein provide the occasions to honor creators, to facilitates new points of view. Tthoughts of a number of film- reveal the state of the art, to under- Furthermore, in this kind of fes- makers and executives from around line the evolution of talents and tivals, the press has much more the world in reply to the question: techniques. echo all over the world and this fact “What is the value of submitting ani- It is their duty to promote high helps authors and realizers very mated productions to festivals?” quality standards and favor meet- much. ings with professionals, buy- The main risk of choosing these ers and audiences on an inter- festivals is that, even if they accept national scale. For animation animation, often they relegate it to art and for everybody, festivals screenings of secondary impor- are positive and stimulating. tance, as it it was only a filling pro- gram. Bruno Bozzetto, That’s why it is very important to Filmmaker, Milan. know in advance the kind of treat- Submitting animated pro- ment every festival gives to our ductions to festivals is always products and then mak a decision. interesting, but I would like to Trying to make a comparison, I suggest to young authors to would say that in one kind of festi- Frédéric Back participate most of all in festi- vals we play “at home” and in the vals which do not specialize only in other kind we play “abroad.” . . . Frédéric Back, Animator, animation. Anyway, I think that it is always Montréal. In fact, in animation festivals, it worth playing. In the course of time we can is possible to meet right authors and appreciate the wisdom of the peo- artists, marvellous persons, partici- J.J. Sedelmaier, J.J. Sedelmaier ple who have been at the origin of pants and organizers; but the great Productions, White Plains, New the animation film festivals we know risk is to always be with the same York. today. Until then, the presentation people, to listen to the same speech- I enter the studio’s work into var- of works was mostly an individual es, the same critics, the same points ious festivals, to basically spread the affair, with little consequences. of view. This prevents us from grow- visual word of what we’ve been up Like any art form, animation ing, comparing our reality with the to, and who in the studio is doing needs the means and events to be one of “live-action” cinema, which is it. The talented people who do the enhanced and discovered. For this, our great brother. work for/with us, really don’t get festivals give governments anima- I think that a mixed festival, with much of a chance for the recogni- tion producing industries and press the presence of famous actors and tion they deserve. Most of our work to allow this important communi- directors, may offer more possibili- airs only in the United States, so a cation art the exposure it deserves. ties, brings people usually far from showing in a festival (or even a

ANIMATION WORLD MAGAZINE January 1997 42 competition) assures our work a worth the effort of the submission You are encouraged to be bigger level of visibility it wouldn’t have oth- process. Festivals are a great stimu- than life, because it is a festival erwise. Festivals also carry a certain lation of discourse on the dimen- where directors are king. These fes- level of publicity. The Annie Awards, sion of the industry. They build rep- tivals attract distributors, film buy- for example, arranges a media utations. They bring creators and ers, producers, recruiters and crit- “blitz” unlike any festival that we’ve marketers together. They keep good ics. It is very possible to license your been involved in. films alive beyond their initial debut film and land a job. By far the most gratifying aspect of this whole procedure, is getting The value of fes- together with people at the festivals tivals is more sub- who are in the animation industry tle and complex and whose work you respect. Most than someone of the time, this gathering ritual” is writing you a the only chance you get to hang check and walk- out with your peers. Consequently, ing away with there’s no other way I’m going to your work. It is have a chance to spend time with about competi- Marv Newland or even Bill tion, recognition Plympton (and Bill’s in New York!). and dedication. I once asked someone visitihg It is a horrible the. studio in White Plains from New John R. Dilworth feeling not to be Zealand, how they had heard of us. or broadcast. I like ‘em. accepted and an exhilarating feeling They gave me an extremely puzzled if you are. Most importantly, you are look and replied, “Well . . . you guys John R. Dilworth, Filmmaker, taking the responsibility of present- are famous!”. You don’t get.’that New York City. ing your work and accepting the reaction from your work simply air- Festivals provide many oppor- consequences. And if all you want ing as per the client’s schedule. . . tunities. The most obvious is the to do at festivals is travel, party and screening of your work for hun- fall in love, then you have my bless- Kihachiro Kawmoto, Filmmaker, dreds or possibly thousands of view- ings. Bon journée. Tokyo. ers. Like painters who dream of a Because I am so busy preparing gallery to hang their canvasses, film Joan Ashworth, Animation for the exhibition of my works right needs to be projected and fill a large Course Director, Royal College now, I can only send you a few lines white canvass of its own. of Art, London. in reply to your question: My favorite festivals are interna- For students and staff of the tional ones, which can bring togeth- Royal College of Art Animation 1) Gathering good animations. er ideas from around the world. Course attending festivals offers the 2) Having attractive guests. One can learn much about the chance to see their work amongst 3) Training audiences to have the lifestyles of other artists—artists cre- other animated films to compare right eyes. ating such different art than your and learn from the reactions of an own, yet at the same period of time audience. Discussion preceding or A festival without these three and from different lands. Simply following the screening gives an conditions would only waste my open your mouth and begin speak- opportunity to explore and discuss time. ing. Language is never a problem. the content or technique of the films There is always a translator lurking more fully. This is a rare opportuni- John Andrews, Vice President, about. ty peculiar to festivals as films are Animation, MTV Music Short film festivals offer more more often screened without their Television, New York. diversity of films and filmmakers. makers present. Since animation festivals are a They also pay better attention to For students who may feel ner- major focus of professional atten- you if you are a director. And that is vous attending a screening of a first tion to independent and commer- vital. As a filmmaker you want to be film it is an invaluable experience. cial animated filmmaking, they are treated with a degree of respect. It is flattering and encouraging to

ANIMATION WORLD MAGAZINE January 1997 43 have a film invited to a festival and because distributors come to festi- when educational to receive feedback vals. you see from a variety of audiences. your film The Animation Course distrib- Clare Kitson, Commissioning in a cine- utes students’ films as far and as fre- Editor, Animation, Channel Four ma, pro- quently as funds allow which shows Television, London. jected on how seriously we take the screen- I really don’t have anything very a big ings at festivals. Festivals represent a original to say about festivals. For screen. valuable opportunity to inform ani- me personally the major interest is mators worldwide that a course in being able to see the new films Raimund Krumme Jerry exists where one can study anima- and being able to track exciting Beck, tion at a postgraduate level in a sup- new filmmakers. It’s certainly good Vice President, Animation, portive environment. also to get feedback on the films I Nickelodeon Movies, Hollywood. Responses to films shown at fes- have commissioned. Although win- I think it’s very important for ani- tivals help the Course to evolve. ning shouldn’t matter, it actually mators to make their own films and Festivals are the only opportunity to does. Because one-off, “auteur” ani- showcase their work. Obviously, see a huge range of exciting short mated shorts do not get very high your peers are interested in seeing films which would otherwise not be ratings, there needs to be some your work and so are producers, screened. This gives the art form a other attraction, in order for my agents, and other industry person- chance to evolve and mature and superiors to continue giving me the nel who may require your unique encourages a cross fertilization of budget to commission them. The talents. Most animators have ideas ideas and techniques. This prestige of a prize or two certainly which challenge conventional exchange of ideas and chance helps there. And it’s always nice to “Hollywood studio” thinking. These meetings with other filmmakers is a meet old friends and compare notes visions must be expressed and healthy change from the insular with colleagues overseas. But I think exposed, they often inspire other world of animation production. that perhaps attendance at film fes- filmmakers and influence new think- tivals is more important for the cre- ing. During the 1930s and 1940s Bill Plympton, Filmmaker, New ative people than for those of us on animation had a visionary, Walt York City. the administrative side. The injec- Disney. Today it’s the independent It’s a good way to create a buzz tion of new ideas is a really valuable animators and their films who, col- about your film, especially if it gets impetus for filmmakers. lectively, are the artistic leaders of an award, or if it gets big laughs the artform. It’s vital to display their and applause from the audience. Raimund Krumme, Animation work to all in the filmmaking com- And that’s a way to get distribution, Director, Wild Things munity. Productions, Hollywood. I don’t like to go to festivals if I Piotr Dumala, Filmmaker, Lodz, don’t have anything to show. When Poland. (Reply came via the I see new films, I somehow feel I Royal College of Art, London). have to give something too When I first went to an anima- (although I hate sitting through a tion festival, my main impression screening of one of my own films). was that here are so many people But these moments of angst are part doing a million things similar to of it. Like in a family reunion, you what I do! Artistic, personal anima- want to bring something when you tion is so private, like writing poems. participate. Animators are very special people, Of course, there are other rea- rather shy, humble and working on sons too. For a short film produc- their own. Often they are in their er/director/distributor, it is still the studios with black walls without best way to reach a larger audience windows,.very concentrated on and sell your film. And after all, it their slow frame-by-frame work. Bill Plympton may be one of the rare occasions Every festival is a big celebration,

ANIMATION WORLD MAGAZINE January 1997 44 a big party where you can meet productions. people similar to you and watch their interior worlds on the big Françoise Reymond, Director of screen with a big audience. This is TV Programs Acquisition & YYourour AdAd the second part of the dialogue Youth Programming, Canal+, which you start alone with a cam- Paris. CouldCould BeBe era and your idea. There you can It is to give our animated pro- feel and see the reaction of differ- grams the best possible exposure ent people, give them the best of that we present them, with our co- HerHere!e! what you manage to do. This is very producers, to different internation- energising and inspiring. New pro- al festivals. I think that, in the last jects, new ideas appear or develop: few years, we can be proud of the For rate cards and this is a special time. I think that giv- great quality of our French anima- additional information ing prizes can be a bit dangerous, tion.: Babart, Tintin, Insektors and about likes always when people compete. Once Upon a Time are the best various opportunities But it gives a dramatic urge to the examples of the great originality of for exposure at event and a feeling that artist ani- our concepts and our designs, par- Animation World mators are not in the empty space. ticularly with Insecktors, where we Of course, it is very important to get innovated with the new technolo- Network, a prize, because it promotes the gy of computer animation. contact our name of the winner. Insektors, often awarded prizes at Los Angeles different festivals, in 1994 was given office at Sherry Gunther, Vice President, an International Emmy Award in Hanna-Barbera, Hollywood. New York. Last month, Once Upon 213.468.2554 The value of having our ani- a Time was also nominated for an mated productions screening at fes- International Emmy Award as the tivals is the exposure amongst the best youth program. or e-mail artists’ community. There is a pres- any of our sales tige associated with film festivals, Bob Godfrey, Bob Godfrey Films, representatives: and particularly when the product Ltd., London. is good, it’s a good chance to show The value my friend is this . . . If your work to talent who can get you don’t submit animated pro- North America: inspired by it and excited about the ductions to festivals who is going Bart Vitek possibility of working at your stu- to know you are alive? dio now or in the future. A word of caution, choose your [email protected] festivals with care—small is not Tyrone Montgomery, always beautiful!! Europe: Montgomery Film, Wuppertal, We are not talking about money Germany. here, if you are interested in money Vincent Ferri Film festivals were the starting choose another profession. I’ve [email protected] point of my career. My first film been making animation for 40 years Quest was screened world-wide and looks as if I’m going to have to and fortunately won a lot of prizes. borrow the cost of my fare home. U.K. I got to know filmmakers and com- Alan Smith panies from all over the world and P.S.: Hang about! I’ve just cottoned [email protected] was offered jobs in the animation on to the full implication of the industry. Today, I work as director, question. The Internet is going to art director and director of photog- make festivals unnecessary!!!! I think Other Location: raphy. Festivals are the best place not—I like meeting filmmakers in [email protected] toshow your films to a professional the flesh. audience and see many other new

ANIMATION WORLD MAGAZINE January 1997 45 YvetteYvette KaplanKaplan OnOn thethe BeavisBeavis andand Butt-headButt-head WatchWatch

by Janet Benn

ike Judge is Beavis and are everywhere: frames, scenes, she has become a continuation of Butt-head Do America’s sequences and clock timings for the animation lobe in his brain, so Mdirector, while Yvette every tiny hand flick or eye blink for that she can almost always decide Kaplan is the animation director. every character in every shot. From questions of direction or situation Since the film is completely animat- the film as a whole down to its sep- as he would when he’s not there. ed, one may ask “What’s the differ- arate scenes, each part of the film Since his deal with Fox to create ence?” In this case, the answer goes has to be crafted in time as well as a new series called King of the Hill, beyond the difference in size and in line. Added to the complexity in he has been splitting his time placement of the credits to an this case was the seemingly impos- between his home in Austin, Texas instance of real collaboration and sible schedule of less than 12 (where he has a sound studio for shared responsibility for the suc- months from the start of story- recording voices) and Los Angeles cessful completion of this film. boarding to its Christmas 1996 (where the series is being made), release decided upon by Paramount while the movie was being made Pictures. in New York. Although he was pre- Mike Judge first created Beavis sent in the early stages and at key and Butt-head in his own, inde- points throughout production, hav- pendently-made films. Later, he had ing an alter ego in the form of to convey his vision to a crew of ani- Yvette Kaplan made possible the mators through more than 100 five- film’s on-time completion. minute episodes on MTV, and this year, throughout the 75 minutes of A Frustrated Actor the feature film Beavis and Butt- Yvette started as an animator head Do America. In this effort, nearly 20 years ago at the School Yvette Kaplan has been his chief col- of Visual Arts in New York, where laborator. she met her artist husband Mark. Combining intense listening They have one son, Randall, who with respect for his vision, Kaplan is proving to be a formidable cre- has internalized Mike Judge’s “boys” ator in his own right, acting both so well as to be able to make their on stage (at school) and on screen every move and gesture express (doing voice work on several ani- their personalities perfectly. Since mated productions including the Mike Judge the middle of the production of the B&B series) all by the age of 12. © 1996 MTV Networks. first season of the series in 1992, “What I loved about being an she has learned all about the char- animator,” she recalls, “was not the Directing animation is a story of acters directly from Mike as he acts actual act of drawing, but the think- numbers and counting, but also of out every new situation or difficult ing [that went into it]. I had an passion and energy. The numbers line reading for her. It’s almost as if unusual career as an animator,

ANIMATION WORLD MAGAZINE January 1997 46 because I wasn’t often directed. tion to his comments. Many times, came up on the screen and the People handed me sheets and a she would have a specific idea in matching sound track was played, track, and I did it. I never knew this mind for a passage where the Yvette would likely be the first to act was unusual. action was not really obvious. They out the scenes again, timing them would go over it together, and as with a stopwatch. The scenes Directing animation is a story Yvette says, “I’d have to get into his would then be cut according to her of numbers and counting, but head, get a picture of how he’s pic- timing and the track changed if nec- also of passion and energy. turing it.” Often his reaction would essary. The AVID reel and slugged spark new ideas in Kaplan’s mind, track were then given to the as she states, guiding her “through sequence directors for sheet timing. “I guess, I’m a frustrated actor. I his intentions in the script.” (Some sequences were done first have good instincts about who a This creative collaboration was by the sequence directors, with character is. I can shift gears. I can applied to the initial storyboarding Yvette’s input, and some by Mike become different characters.” of each sequence. These were sent himself.) Kaplan worked as an animator to Mike after Yvette’s approval, and on the pilot for Doug for Jumbo usually, he had changes. This back- Sequence Directors Pictures. When the company saw her work, they promoted her to director. Her career has been remarkable in that she has been pre- sent at the start of this and two other important television shows: Beavis and Butt-head and the PBS series, The Magic School Bus (where she acted as a creative consultant).

Visualizing Yvette began visualizing Beavis and Butt-head Do America in November 1995, when the first ver- sion of the script was delivered by Mike Judge and Joe Stillman. Going through the script line by line with Mike, she made extensive notes and at times drew little pictures, to bet- ter describe their ideas to the story- board artists. For production man- Yvette Kaplan, with son Randall and husband Mark at New York premiere of Beavis and agement purposes, she broke the Butt-head Do America. Photo by Janet Benn. film down into 32 sequences, defined mainly by the many loca- and-forth went on for many weeks, Sequence directors were cho- tions necessitated by this “road” pic- and the customary pressure was sen by Yvette according to their ture. So began her year of 14-hour beginning to be applied by the demonstrated strengths in working days and 7-day work weeks. Storyboard Supervisor as well as the inside the Beavis and Butt-head uni- Mike Judge began to record the Producer to try to stay on schedule. verse.. Kaplan was responsible for voices of Beavis and Butt-head and The storyboards were then the daily supervision of their work. many of the other characters he scanned into an AVID editing sys- Geoffrey Johnson, for example, portrays: Tom Anderson, Van tem. This was the first raw visual was largely responsible for the char- Driessen and McVickar, to name a material used for timing the action: acter of Muddy (who tries to get few. Yvette was present at many of the dialogue track had previously our heroes to “do” his wife, Dallas), these sessions, observing his been put together (“slugged”) to his portrayal as directed on the approach and paying close atten- Mike’s satisfaction. As each panel exposure sheets was guided by

ANIMATION WORLD MAGAZINE January 1997 47 camera’s roving eye, simu- lating Butt-head’s puzzle- ment as to where their TV has gone. It was Kaplan’s job to visualize the film once again, this time by reading the exposure sheets done by the sequence directors while listening to the track. “I would see if I was amused, or interested by the way they paced their acting, and if I was satisfied with it. Of course, the same way I couldn’t visualize something exactly like Mike, the sequence directors couldn’t visualize some- thing exactly like me, unless Yvette Kaplan (left) with Cartoon Network’s Linda Simensky. Photo by Janet Benn. I had acted it out for them Yvette’s understanding of what Mike in the sequences featuring Dallas. ahead of time, unless they really wanted. The voice carried much Mike deSeve was our “fight expert,” internalized it the way I try to inter- information through the perfor- choreographing all of the many nalize what Mike acts out. But then, mance Mike had drawn from the squabbles the boys started, as well there were many other times where actor: intonation and emphasis, as some sequences of natural cata- sequence directors might have even his coughing was important. strophes. done something totally different that Given Johnson’s proven ability at Miguel Martinez introduced the what I imagined; but I would give mastering the details which fill out Feds to Highland, and Ray Kosarin them the respect they deserve by Muddy’s on-screen personality, and and Paul Sparangano completed putting aside any of my precon- tempered by Kaplan’s overall grasp the team. ceived notions aside and looking to of the largely understated B&B act- Somewhat separate was the see ‘Does it work?’ and ‘Is this good? ing style, we get a satisfying incor- “Hallucination” sequence, directed Does it get the point across?’ When poration of the character into the by Chris Prynoski under Mike Judge’s it did, I was thrilled and approved it film. direct supervision, animated at MTV wholeheartedly.” In addition to Johnson, the spe- with input from Rob Zombie, on cial talents of eight other sequence whose artwork and music the Layout To The Finish directors were brought together sequence was based. This part of In preparation for the layout on the film. Chief among these the film was always seen as totally phase, scene planners analyzed the were the three veteran animators, different in style and coloration from exposure sheets and storyboards Tony Kluck, Carol Millican and Ilya the rest of the movie and was, in a together with the designs worked Skorupsky. As well as directing sense, “experimental.” out by Design Director Sharon whole sequences, Tony and Ilya And so the collaborations con- Fitzgerald’s staff, and the back- were also storyboard artists and tinued: Kaplan with the nine ground keys researched and paint- Carol lent her expertise to the sequence directors and with Mike ed under the supervision of Art Character Layout Department, Judge. Often he depended on her Director Jeff Buckland. Background checking each scene in an effort to sense of timing, especially in the layout, headed by Maurice Joyce, achieve the best, most expressive “Wake Up” sequence, where the came before character posing, poses. Brian Mulroney, who had biggest laughs come from the point- which was co-helmed by Paul achieved other adroit female per- of-view camera shots, where there Sparagano and Bryon Moore, with formances in the past, specialized is virtually no action except for the oversight from Carol Millican, who

ANIMATION WORLD MAGAZINE January 1997 48 had been co-supervising director of came together in the week before set the pace for the show’s visual the B&B series with Yvette for two Thanksgiving, exactly one year since style based on Mike’s original films, years. the first version of the script had and Yvette followed that lead: “My Once these Layouts were com- been delivered to MTV in New York. job was to keep it flowing, and pleted, checked, revised and . alive, without many drawings.” checked again, they were filmed as Later, when she had begun to col- a “Leica” reel. “It was like, the next A Storyteller laborate more with Mike, the style level. ‘Okay, now let’s see how this Now that it’s all over but the would change a bit; but many ded- times out with movement!’ All right, applause (and the inevitable con- icated B&B fans still point to this first not full movement because it was season as their favorite. just pose-to-pose, based on the lay- Their collaboration began dur- out, but you could see a lot more.” ing a storyboard meeting. She had This was the first opportunity Kaplan an idea for some comic business had to see actual artwork, to make which she muttered aloud, mostly revisions to correct bad poses or to herself. Mike heard it: “The expressions, and to work further on respect that I wouldn’t give my own animation timing. thought,” she recalls, “he gave it. The pencil tests were not all in And that was when it all clicked for before color workprint footage also us. started to come in. By this time, very “I knew from our first meeting few creative animation changes Yvette Kaplan at work on Beavis and Butt- that he was very clear on who these head Do America. were possible, but there were still Photo by Janet Benn. characters were and that there were animation glitches, color pops, things about them that would take exposure mistakes, and many other troversy), I asked Yvette about her me time to learn.” It must have been technical problems to be noted, preparation for this job as Animation difficult, at first, being new on the analyzed and described in order to Director on Beavis and Butt-head scene, and having to deal with all be fixed. “That, for me,” Yvette said, Do America: “I learned a lot from these artists who were interpreting “is the least creative and least satis- Mike and the writers, but I always his creation. Then, as Yvette put it “I fying part of my job. It’s hard to told stories. I used to write myself, I was one of the lucky ones that he watch a scene and still not want to used to make up my own charac- came to trust.” perfect the timing and the acting.” ters. As a kid, I would orchestrate All the post-production was the “pretend play,” now ‘You’re done in Los Angeles, where Yvette gonna be this, and I’m gonna say this’ and I’d write lines for every- This part of the film was always body!” seen as totally different in style For the first season of Beavis and and coloration from the rest of Butt-head, Yvette was called in to give some continuity to the direc- Janet Benn was Scene Planner, the movie and was, in a sense, Layout Checker and Retake “experimental.” tion across several episodes. Up to that point, the animators were Supervisor on Beavis and Butt- responsible for their own direction, head Do America. She has was to spend several weeks help- ironically, working much as she had worked in animation produc- ing to select the right takes and lock- when animating on other projects. tion for 20 years and served on ing the reels. Mike Judge directed Mike Judge was there from the start, the Steering Committee of the the final edit and the many sound but he felt very frustrated at the lim- Society for Animation Studies mixes needed to satisfy the Ratings itations of the initial low budget, and has been involved in the Board as well as himself. Mike had which allowed for only a limited formation of the New York worked with the composer, John style of animation not to his liking, Chapter of Women in Frizzell, on the score, and flew to and not much time to complete Animation. She has also officiat- London to record it with the even that. Veteran animator Tony ed at ASIFA-East and Women London Philharmonic. Everything Eastman did the storyboards, which Make Movies, Inc.

ANIMATION WORLD MAGAZINE January 1997 49 he new animated feature, Stimpy and MTV introduced the recovered until the end of the pic- Beavis and Butt-head Do world to Beavis & Butt-head. The ture, beat up and cast aside in an TAmerica is the perfect waste of screenplay was written by Mike alley, like the best and the worst of time. The kind of spent time that Judge and Joe Stillman, both expe- medium. B&B devise ways to won’t keep you up in the middle of riencing their work being produced replace their television, which leads the night berating yourself for for the first time on the big screen. them to cross paths with an aggres- going—let alone spending the sive drunk in a hotel room. The man money. And I encourage you to offers the boys a lot of money to bring a date, or even better all your “do my wife.” B&B hop on a plane friends. and head to Las Vegas where she The film provokes and chal- is holed up from the law and in lenges the viewer in many ways. possession of a deadly biological One of which is the uneasy real- device called the “X-5 Unit.” The ization that Beavis and Butt- unit is sewn into Beavis’ shorts head are like family. The kind of ( don’t ask why he removed family that you’re embarrassed them ) and the boys return to say you’re related to. And East across America with the they make you laugh. Bureau of Alcohol, Tobacco Suspiciously, I do not think and Firearms people in hot we’re laughing at them. pursuit. The action con- Beavis and Butt-head Do cludes at the White America has a keen and House, in our nation’s sharp eye for capturing capitol, where the subtitles of behav- President Clinton ior. Watching the film is hands out member- like watching a freak b y John R. Dilworth ships to the ATF. ( Is show caricature of this the first time our everyday people. If the film were President has been portrayed in an shot in live action, this kind of doc- Starting and Ending With animated film?) umentation would go unnoticed. Television The story is not worth the big I’m rather curious about the kind of The plot of Beavis and Butt-head screen. B&B role play through the ability that could take a couple picture. It is unfortunate that of hand drawn designs of they could not break away deep simplicity and drape it or even attempt to explore a over public consciousness like different aspect of their per- grandma’s wool blanket. There sonalities. Emotionally, they is something deeper at work are wind up dolls with a pre- and history holds many exam- designed set of instructions. ples of the war against tradi- This is the only obstacle that tional values and thought. keeps B&B flat TV personali- Much credit should go to ties in a medium that pleads Abby Terkhule, the film’s pro- for light and dimensionality. ducer, and champion of the There was an opportunity talents of Mike Judge during during the middle of the pic- the early days before the series. ture to deliver more charac- Judge’s work appeared on terization but it wasn’t The boys do Hollywood for Beavis and Butt-head Do America Liquid Television after catching © 1996 MTV Networks. played out. B&B are strand- the eye of Colossal Pictures’ ed out in the desert and Prudence Fenton. A very interest- Do America starts and ends with they run into their dads, two for- ing period of time for TV animation, television. The boy’s TV set is stolen mer roadies who slept with sluts. Nickelodeon launched Ren & while they daydream and is not The reunited dysfunctional family sit

ANIMATION WORLD MAGAZINE January 1997 50 around a camp fire and share a few the speeding car in the face of bell-bottoms. There is a wonderful laughs and flatulence. The next oncoming highway traffic, much reworking of the Isaac Hayes song, morning the fathers disappear and the way Butch Cassidy and the “Shaft,” titled “Two Cool Guys” that the boys are on their own again. Sundance Kid jumped off a cliff Mr. Hayes and Mr. Judge collabo- when surrounded by the law. rated on. This is the freshest and most creative sequence in the pic- A Healthy Mockery ture. In the past, B&B have One sequence actually tran- appeared as various representations scends the picture. B&B have on their TV series but the timing, a near death hallucination in music and total unexpectancy of the the middle of the desert of opening created a true film experi- dancing demons straight out ence that is very funny. As turn of of the world of Hieronymus the century social critic Benjamin Bosch. The sequence was Casseres has suggested, “there is a based on the artwork of Rob healthy mockery, a healthy anarchic Zombie. This sequence spirit.” And this is why B&B is bril- Beavis (right) and Butt-head groove to the sounds departs from the picture in of a Las Vegas hotel lounge act inBeavis and Butt- style and medium, utilizing a head Do America I’m rather curious about the © 1996 MTV Networks. digital ink and paint process, kind of ability that could take a provided by Tape House couple of hand drawn designs The film’s director and creator, Computer Ink & Paint, and serves of deep simplicity and drape it Mike Judge, does an adequate job as a contrast to the reality B&B over public consciousness like with his first animated feature. The inhabit on cel. There is also use of grandma’s wool blanket. picture’s production value is consis- computer assisted design. In one tent with the television series, and in sequence, B&B dance a la Saturday fact felt like the TV show projected Night Fever on a disco floor as the liant. on a big screen. Contemporary ani- camera pans down from above Beavis and Butt-head Do mated feature filmgoers conditioned reminiscent of Belle dancing with America should be celebrated. The to pristine and polished production the Beast. Another sequence por- picture is an immediate departure values will notice the broken xerox- trays B&B as fire breathing giants from the dominating Disney inter- ed pencil lines shimmer on extreme destroying a city like a Little Nemo pretation of animated feature film- close-ups and dirt on panning cels. nightmare. making. And it is the first contem- The animation drawings wiggle and Where the picture really excels porary, hand drawn animated fea- then hold, then wiggle again in is when B&B appear as Starsky and ture not trying to use the Disney cin- what could be called Trace-backvi- Hutch, complete with Afros and ematic form. Whether the creators sion. There are many funny moments in Beavis and Butt-head Do America , including the flight to Las Vegas where Beavis pulls his shirt up over his head and breaks into the cock- pit acting like a demented terrorist. I also enjoyed the bit of limited inti- macy between Beavis and an old woman voiced by Cloris Leachman. Another worthy moment is the highway chase. B&B are locked in the truck of a speeding car. The boys manage to break open the trunk but are left with the dilemma Beavis and Butt-head encounter their “dads” in Beavis and Butt-head Do America of escaping by having to jump off © 1996 MTV Networks.

ANIMATION WORLD MAGAZINE January 1997 51 tural and artistic world upside down sequence in the desert and the with their “barbarism.” Other art opening daydreaming images of movements provoke the same strength and vitality—of control. resentment. The Dada movement Beavis’ lack of reading skills provides is another example of the need to the primitiveness among others. The challenge and redefine the “bour- frustrations over homosexuality— geois” beliefs of significance and tra- Van Driessen sings to his students dition. “Lesbian Seagull.” Frustrations over B&B say and do things good lit- the socially deprived—both fathers tle boys and girls were taught, or of B&B roam the desert, isolated conditioned, not to do. In an Butt-head and Beavis on the road in attempt to replace their stolen TV, Emotionally, they are wind up Beavis and Butt-head Do America they defiantly walk away with the dolls with a predesigned set of © 1996 MTV Networks. school’s audiovisual equipment. instructions. are aware of the implications of pro- When reproached by the principal, ducing an animated feature whose the two dismiss him as a represen- and forgotten. primitiveness is a bonfire for artistic tation of central authority. Now that Beavis and Butt-head Do freedom is questionable. The film B&B can express themselves more America is a funny animated fea- does provoke and challenge. openly on film than on television, ture cast from a new mold and from Necessary requisites for change. they explore more fully the frustra- a clean slate. It should provide the What are the standards for judg- tions they experience during rigid fuel of liberation to artists and film- ing art? Beavis and Butt-head Do times. Frustrations of sexuality—B&B makers who have always believed America forces the viewer to judge are obsessed with “scoring” and in alternatives. In a sense, Marshall it—and its “aesthetic McLuhan’s “The medium is the mes- indifference” as Marcel sage” recycles itself. Television is Duchamp put it. what defines our cultural experi- Throughout history, ence. B&B watch television and tele- artistic thought has vision watches B&B. Beavis and struggled against the Butt-Head Do America is film by the dominating opinion of act of being so, but when the the time. An important humor slows as it does, look for the factor in the experi- message. mentation of the arts is a quest for liberation. Beavis and Butt-head Do America. B&B react against the MTV for Geffen Pictures in associa- rigidity of the society, tion with Paramount Pictures. they are the banner Director: Mike Judge. Animation holders for counter The boys are wanted in Beavis and Butt-head Do America Director: Yvette Kaplan. Written by conformity and against © 1996 MTV Networks. Mike Judge and Joe Stillman, based the order that wants to on MTV’s Beavis and Butt-head, cre- repress them. It is not altogether during a AFT cavity search per- ated by Judge. Producer: Abby coincidental that during the turn of formed on Butt-head, he believes Terkuhle. Co-Producer: John the century in Europe, Diaghilev, he has. Interesting how the author- Andrews. Music Score: John Frizzell. Nijinsky and Stravinsky, among ity has provided a form of fantasy other collaborators, turned the cul- service through Butt-head’s inter- John R. Dilworth is a New York pretation. The impulse to mastur- based independent filmmaker The picture is an immediate bate, or self-pleasure (or self expres- whose recent short animated departure from the dominat- sion), is also very high regardless if film, The Chicken From Outer ing Disney interpretation of the boys know how to do it. Space, was nominated for an animated feature filmmaking. Frustrations of the unconscious and Academy Award. the primitive-the hallucination

ANIMATION WORLD MAGAZINE January 1997 52 LaLa FrecciaFreccia AzzurraAzzurra (The(The BlueBlue Arrow)Arrow)

by Giannalberto Bendazzi a Freccia Azzurra (The Blue panies that supply digital ink-and- only wants to please the children of Arrow) is a film that uses com- paint and computerized rendering. the rich, who have paid a fortune Lputers in a highly refined man- Cartoonia, which took on The Blue for their toys . . . only these same ner; so much so, that one hardly Arrow, was started in 1992 as an toys (one of which is a train called notices. Guided by an electronic offshoot of Turin’s La Laterna “Blue Arrow,” hence the film’s title) brain, its camera is able to execute Magica, which produced the film. rebel and start a journey to give tracking shots and pans which one themselves to the children they only thought possible in a live-action choose. This leads to a long series of movie; drawn with pixels, the film’s Enzo d’Alò’s production comes twists and turns, the last of which is characters are seen across 30-40 lev- up dry, funny and fun, and is the final—and predictable—defeat els, with each one staying in per- often done tongue-in-cheek. of the villain. fect focus. This is one of the secrets Luckily, Enzo d’Alò’s production, to the basic “lightness” of a film like The story line might seem fas- which is what really counts, comes no other, one which tells an amus- tidious if given in summary form. up dry, funny and fun, and is often ing and fun-loving fairy tale set in On the night of Epiphany, La done tongue-in-cheek. (Hats off to the 30s, with the touch of a mod- Befana (an old hag who, according the voice work, in the Italian ver- ern electronic storyteller. to Italian folklore, brings gifts at this sion, of Dario Fo as Scarafoni and The technological aspect, in fact, time to children who have been Lella Costa as Befana.) It is brought is probably the main reason why nice and charcoal to those who off with the help of Paolo Cardoni’s the movie is so impor- extraordinarily original drawings tant. Having clearly got and production design; an illustra- a late start with respect tor whose trademarks are the two- to other European coun- dimensional aspect of color and the tries (with France lead- simplicity of his drawings, Cardoni ing the way), Italy has adapts quite well to the require- quickly caught up over ments of filmic narrative. the past few years in terms of both equip- An Act of Courage ment and professional- An animated feature presented ism; it has done it in by a country undergoing a serious such a way that the production crisis (a crisis which is small but efficient struc- even more endemic in animation) Scarafoni inLa Freccia Azzurra by Enzo d’Alò. ture known as Cartoonia released in Italy in direct competi- (based in Turin and Terni) can pre- have been naughty) falls ill and is tion with Disney’s The Hunchback sent its business card as proof that unable to deliver her presents; her of Notre Dame is certainly an act of it is able to compete head-to-head absence plays into the hands of courage. It is an act which is impor- with other major European com- Scarafoni, her evil assistant, who tant not only for the challenge it

ANIMATION WORLD MAGAZINE January 1997 53 have acquired a taste for Rodari, who wrote the original story modernism (of the 30s, and is one of Europe’s greatest writ- implied though not openly ers of children’s literature, made it stated). Paolo Conte’s char- all possible—though the reaction of acteristically strong and ele- various European audiences (the gant music helps evoke this film has already been released in atmosphere. Germany and Switzerland) seems to indicate that it has honed in to Taking Pride the wavelengths of both adoles- Even in its pronounced cents and children. Italianism, The Blue Arrow Francesco, La Befana and Giocattoli inLa Freccia The film’s mood and style are Azzurra by Enzo d’Alò. takes pride in being a European production; the tied to the traditions of presents to the current crisis and its first example, in Italy, of a frame-by- European auteur animation, powerful overseas rival, but more frame feature film conceived, grown while there is a complete importantly for its chosen format. and nurtured by the major absence of the usual Hollywood The Blue Arrow is, in fact, a gen- European Community’s organiza- or Broadway influence. uinely original and autonomous tions which promote member co- project in the field of animation for productions. The Italian companies One question remains: What children. La Lanterna Magica and Eta Beta role will The Blue Arrow play in Neither Disneyish or anti-Disney, joined foreign co-producers such as Italian theatrical animation? We neither an overstated caricature or Switzerland’s Fama Film and don’t yet know the box office results realistic, neither science-fictional or Luxembourg’s Monipoly, while artists yet, but perhaps it will mark the end belligerent, neither tear-jerking in places such as Spain, Portugal, of sporadic, improvised and often (although there is a slight hint of the Czech Republic and Denmark unfulfilling productions. La Laterna philo-poverty inherited from the (400 in all) were used (the unity of Magica has already scheduled a TV Italian leftist cinema of yore), it is a style was accomplished by the rig- series based on the film; also, the film which tells a fairy tale that is nei- orous supervision of the Turin-based Lega della Cooperative has pro- ther canonical or well known, but director of animation, Silvio posed, in Turin, a project to be better yet one that is modern: one Pautasso). funded by both municipal and in which the fantastic is combined There is no doubt that the film’s regional governments: an anima- with the realistic, describing, almost mood and style are tied to the tra- tion center in the royal city, consist- stereotypically, the average Italian ing of production, research and town (the writers used most importantly professional edu- the Tuscan town of cational facilities. While the anima- Orbetello as their tion industries around the world model). This is a film have been rapidly expanding, and which tends to shy now Italy, if it does not get bogged away from the norm down with the usual inertia, may and go its own have reached the turning point unique way; and it where it can join the rest of the does so without the world. least bit of hesitation and with a great deal La Freccia Azzurra (The Blue of perfectionism, pro- Arrow). Adapted from an original fessionalism and atten- La Freccia Azzurra by Enzo d’Alò. story by Gianni Rodari. Screenplay: tion to detail (the film ditions of European auteur anima- Enzo d’Alò and Umberto Marino. took more than four years to make). tion, while there is a complete Director of Animation: Silvio As a matter of fact, The Blue Arrow absence of the usual Hollywood or Pautasso. Executive Producer: Maria will probably be enjoyed by adults, Broadway influence. All of this, Fares. Director: Enzo d’Alò. Italy- who will appreciate its “deja vu” feel, under the umbrella of Gianni Switzerland-Luxembourg, 1996. apparently put in for those who

ANIMATION WORLD MAGAZINE January 1997 54 LaLa FrecciaFreccia AzzurraAzzurra

di Giannalberto Bendazzi

sa il computer in maniera raf- e una a Terrni) può presentare i giocattoli stessi (e fra loro un treni- finatissima, questo film: cosí questo biglietto da visita per testi- no chiamato Freccia Azzurra, che Uraffinata che quasi non si moniare di essere in grado di bat- dà il titolo al film) si ribellano e si vede. Guidata dal cervello elettron- tersi ad armi pari con le altre mag- mettono in marcia per donarsi ai ico, la sua macchina bambini che preferiscono, innes- da presa compie car- cando così una lunga serie di snodi rellate ed evoluzioni narrativi nonché la finale—e immag- che sarebbero possi- inabile—sconfitta del truffatore. Per bili solo nel cinema fortuna la realizzazione firmata da “dal vero”; disegnati Enzo d’Alò, che è ciò che conta, dai pixel, i suoi per- risulta asciutta, divertita e divertente, sonaggi arrivano a spesso autoironica (coup de cha- disporsi su 30-40 liv- peau al doppiaggio di Dario Fo- elli in profondità di Scarafoni e di Lella Costa-Befana) e campo, rimanendo descritta con straordinaria original- tutti perfettamente a ità dai disegni e dalle scenografie fuoco. È questo uno La Befana and Scarafoni in La Freccia Azzurra by Enzo d’Alò. di Paolo Cardoni, un illustratore che dei segreti della fon- della semplificazione del tratto e damentale leggerezza di un film che giori societá europee che forniscono della bidimensionalità del colore si non assomiglia a nessun altro, e che coloritura elettronica e ripresa com- era fatto un marchio di fabbrica, e riesce a narrare una divertente e puterizzata. Cartoonia, che appun- che qui si mostra particolarmente gentile fiaba ambientata negli anni to si è fatta carico della lavorazione malleabile nell’adattarsi alle neces- Trenta Cinquanta con la modernità de La Freccia Azzurra, è natta nel sità della narrazione cinematografi- di un cantastorie elettronico. 1992 da una costola della società ca. E I’aspetto tecnologico è prob- torinese La Lanterna Magica, cioè Un lungometraggio d’ani- abilmente la prima ragione per cui della produttrice del film. mazione, dunque, proposto da un questo film è importante in questo La cui storia, a riassumerla e momento. Partito in netto ritardo basta, potrebbe gelare le vene, per rispetto ad altre cinematografie d’an- la sua leziosità. La notte dell’Epifania, imazione del continente (quella la Befana non può portare in giro i francese in testa), negli ultimi anni doni perché è ammalata, e rischia di il nostro Paese ha saputo recuper- lasciare il gioco nelle mani del suo are in termini di macchinario e di perfido assistente Scarafoni, il quale professionalità, sí che oggi la pic- vuole accontentare solo i bambini cola ma efficiente struttura denom- ricchi, quelli che hanno pagato i inata Cartoonia (una sede a Torino giocattoli fior di denari . . . solo che La Freccia Azzurra by Enzo d’Alò.

ANIMATION WORLD MAGAZINE January 1997 55 (la lavorazione è dura- film siano legati alla tradizione euro- ta oltre quattro anni). pea del cinema d’animazione d’au- Tra l’altro risulterà prob- tore, e che vi manchi invece del abilmente gradevole tutto la così frequente impronta hol- anche per gli adulti, ai lywoodiana o broadwaiana. Tutto quali non dovrebbe questo, unito al nome di Gianni dispiacere quel suo Rodari, padre del racconto origi- sapore vagamente nario e gloria della letterettura euro- rétro, quasi fatto appos- pea per ragazzi, fa sì che dalla ta per chi può aver risposta dei diversi pubblici del con- sviluppato simpatia per tinente (la distribuzione è già inizia- il modernariato (gli ta in Germania e in Svizzera) si potrà anni Trenta, non anche verificare come i giovani e i Francesco inLa Freccia Azzurra by Enzo d’Alò. dichiarati ma palesi). A giovanissimi di questo emisfero Paese in grave crisi produttiva (crisi questa atmosfera dà un apporto rispondano a un’esposizione fatta che, nel campo specifico del diseg- decisivo la musica caratterizzata, esplicitamente per loro. no in movimento, è per di più forte ed elegante di Paolo Conte. Resta da domandarsi che cosa endemica) e proprio in diretta con- Pur nel suo spiccato carattere significhi La Freccia Azzurra per il correnza, sugli schermi, con il italiano, La Freccia Azzurra ha la par- cinema d’animazione italiano. Forse gigante in arrivo Il gobbo di Notre ticolarità di essere un prodotto (ma la risposta, questo è ovvio, è Dame della Walt Disney. L’atto di europeo; il primo esempio, in casa legata strettamente agli esiti del bot- coraggio non è significativo soltan- nostra, di lungometraggio immag- teghino) può significare la fine delle to per la sfida contro la congiuntu- ine-per-immagine nato, cresciuto, produzioni sporadiche, volontaris- ra e contro l’agguerrito rivale d’oltre- caldeggiato all’ombra delle grandi tiche, talora velleitarie. La Lanterna oceano, ma anche e soprattutto per organizzazioni della Cee che pro- Magica ha già in programma un la formula scelta. La Freccia Azzurra, muovono la co-produzione comu- serial tratto dal film, oltre a in effetti, è un lavoro genuinamente nitaria. Le italiane Lanterna Magica numerose altre iniziative per le sale originale e autonomo nel campo ed Eta Beta si sono associate a co- e per il piccolo schermo, e la Lega dell’animazione per ragazzi.- Né dis- produttori stranieri come 1’elvetica delle Cooperative ha presentato a neiano né antidisneiano; né cari- Fama Film e la lussemburghese Torino un progetto che le autorità caturale né realistico; né fantasci- Monipoly, e il lavoro vero e proprio pubbliche della città e della regione entifico né guerresco né strap- di animazione si è svolto anche in hanno mostrato di condividere: la palacrime (anche se non manca altri Paesi come la Spagna e il nascita di un vero e proprio polo qualche sfumatura filo-poveristica Portogallo, la Repubblica Ceca e la del cinema d’animazione nella città ereditata dal cinema di sinistra di Danimarca, per un totale di 400 dis- sabauda, fatto di produzione, una volta). È un film che narra una egnatori o scenografi di differente servizi, ricerca e soprattutto scuole fiaba non canonica e non celebre, passaporto (anche se l’unità dello per l’addestramento professioniale. ma anzi moderna e nella quale il stile è stata poi sempre garantita dal- È un fatto che l’animazione in tutto fantastico si combina molto l’esigente direttore dell’animazione il mondo è in espansione impo- sostanziosamente con il realistico, torinese Silvio Pautasso). Non c’è nente, e l’occasione, se non verrà descrivendo addirittura quasi plani- dubbio poi che lo stile e il tono del sprecata per le sempre possibili metricamente la cittadina media ital- inerzie. può essere quella buona. iana nella quale si svolge. (Il módel- lo ideale a cui gli autori si sono rifer- La Freccia Azzurra. Soggetto: da iti è stata in concreto Orbetello). È un racconto di Gianni Rodari. un film, in sostanza, che ha il pregio Sceneggiatura: Enzo d’Alò e di svincolarsi dalle mode e di per- Umberto Marino. Direttore del- correre una sua via personale, senza l’animazione: Silvio Pautasso. la minima timidezza e anzi con il Produttore esecutivo: Maria Fares. massimo immaginabile di per- Regia: Enzo d’Alò. ltalia-Svizzera- fezionismo, professionalità, acribia Lussemburgo, 1996. Scarafoni inLa Freccia Azzurra by Enzo d’Alò.

ANIMATION WORLD MAGAZINE January 1997 56 WWaitingaiting forfor HugoHugo by Arnaud Laster

lthough The Hunchback of King and Mr. Bird) proved that. by the enforced obligation of con- Notre Dame was reviewed To go immediately to the main tinence and celibacy imposed on Aby William Mortiz in our July point, The Hunchback of Notre clergy by the Catholic church. Victim 1996 issue, we thought it would be Dame, as I discovered, seems much interesting to also get the reaction less an adaptation from the Hugo You will note that in 1996 of a leading Victor Hugo scholar novel than from a cinematic prede- everything is still done as if it when it opened in France in late cessor, the famous American version were impossible to present a November. Arnaud Laster is not directed by William Dieterle in 1939. priest character who does only a leading authority on Hugo, The music behind the titles already wrong. he has also written extensively on gives the first clue. The function of poet Jacques Prévert, whose prolific the Judge devolved onto Frollo, of this interdict, horrified by his own screenwriting career even encom- whose original status as Archdeacon sexuality, he can no longer bear to passed animation. is again transferred to a benevolent witness that of others and perse- ecclesiastic, is a second one. You cutes Love; the cry of the flesh is so When you love, as I do, the will note that in 1996 everything is imperious that he makes recourse novel Notre-Dame de Paris by Victor to blackmail, becomes guilty Hugo, what can you expect from of attempted rape and, its adaptation by the Disney Studios being’ unable to possess the under the traditional English-lan- object of his desire, ends by guage title The Hunchback of Notre rejoicing in seeing Esmeralda Dame? I should specify up front that delivered to the executioner. I have just seen the animated fea- We bet that concern about ture once, and in a dubbed French sparing children the evoca- version, which is the only way you tion of such torments is can see it in Paris, since no theater opportunistically added to offers the original version (meaning Esmeralda greeting Quasimodo during the Festival the preoccupation with not that the distributors foresee an audi- of the Fools. shocking the devotees of a © Walt Disney Pictures ence primarily of children, and in religion that is still powerful in no case of adult movie fans). Now still done as if it were impossible to the United States and elsewhere. it is not inconceivable to interest an present a priest character who does The obsession of Frollo nonetheless exacting adult audience in an ani- wrong. This self-censorship robs the inspires one sequence that I found mated feature: the success of the work of one of its strongest tensions: aesthetically the most beautiful and masterpiece by Jacques Prévert and the monstrosity of Frollo results in which, exceptionally, uses with tal- Paul Grimault Le Roi et l’oiseau (The effect from the repression caused ent the specific resources of anima-

ANIMATION WORLD MAGAZINE January 1997 57 of the novel which most portend- Nothing But Kindness and ed what was to come, in that it Devotion establishes Hugo’s future battles and Physically, Quasimodo seems reinforces the struggle against the to me hardly more successful: racism of the end of his own cen- the character created by tury and that of ours. Charles Laughton seems to Captain Phoebus, with his have served as model, but blonde beard and his completely the ugliness that rendered it banal face, totally lacks seductive- so interesting, indeed fasci- ness, his sole trump in the novel. nating, has been attenuated Here he is supposed to be just Esmeralda and Phoebus in The Hunchback of to the point of being almost returned from a war in which he Notre Dame. © Walt Disney Pictures meaningless. This poor was distinguished, but instead of hunchback is nothing but behaving like a disciplined soldier tion: that in which flames escaping kindness and devotion, while in the and without the martial soul of the from a chimney near the redoutable Hugo novel his deformity and deaf- novel’s character, he thwarts the judge form the image of Esmeralda. ness having engendered general repressive zeal of the police, The makers of the animated fea- repulsion and isolation, he behaves demands that Frollo shorten ture have clung faithfully to the like a nasty dog at the service of his Quasimodo’s suffering, and claims Dieterle film in which the respect (adoptive) father and master, until the right of asylum for Esmeralda. for him whom the media still often that moment on the pillory when By means of reducing the charac- call “The Holy Father” leads to Esmeralda gives him a drink and he ters to stereotypes, this adaptation crowning Quasimodo not (as in sheds his first tear. That sublime involuntarily makes, once again, the Hugo) the “Pope of Fools” but scene, charged with emotion and most striking demonstration of rather the “King of Fools”. On the bearing one of the main meanings Hugo’s originality in contrast to the other hand, they did not keep the of the novel, since the compassion codes of melodrama. In the novel, King Louis XI of Dieterle’s film, who shown by Esmeralda not only this young hero has only a good is idealized to the point of becoming opens and changes the heart of military bearing and no true emo- the bearer of Hugo’s own convic- Quasimodo but also communicates tional depth; as far as Frollo is con- tions, which constitutes not only a to the populace, has lost its power cerned, it is a sincere act of charity, violation of the character in the because the authors of the cartoon not constrained or forced, that leads novel but also a transgression don’t have enough confidence in him to rescue the sickly abandoned against Hugo’s own anti-monarchy their own emotional feeling. baby whom he names tendencies which were already Nonetheless Esmeralda’s accu- Quasimodo—and it is through cow- strong at the time he Wrote Notre- sation of Frollo “You mistreat this ardice that he fails to save Dame. They have substituted for man as you mistreat a people” Quasimodo from the pillory, not, as him a sort of sovereign of the Court belongs to an up-dated of Miracles, Clopin Trouillefou, in interpretation directly whom they invested the function inherited from that pro- of narrator, which he hardly merits. posed by Dieterle’s film Furthermore they have given him on the eve of war in the appearance of a kind of Cyrano 1939. The persecution de Bergerac, such as Edmond of the Gypsies and of Rostand caricatured him, and it is Quasimodo have in this rather un-Gothic silhouette that common to be direct- stars on the film’s posters, a sort of ed against their obvi- unwitting anti-publicity. Hugo him- ous difference, whose self did quite the opposite in his superficial character is own adaptation of the novel to an justly underlined. Here, opera libretto (music by Louise at least, you recover The gargoyles (Hugo,Victor, Laverne) with Quasimodo and Bertin): he made Clopin the accom- one of the dimensions Esmeralda in The Hunchback of Notre Dame plice of Frollo. © Walt Disney Pictures

ANIMATION WORLD MAGAZINE January 1997 58 in the cartoon, in order to teach him order which scorn justice and lib- ger, and it is a character omitted a lesson. By making the characters erty. The revolt against the iniqui- from the animated film, the poet conform to conventional figures of tous judge and against injustice Gringoire (a bearer of Hugo’s senti- generous hero and completely evil reigning in the person of the min- ments in a different register from villain, the script of the animated ister of justice Frollo is one of the King Louis XI) who wins Esmeralda’s feature measures exactly how too rare exalting moments of the love, and the happy couple leave wrong it is to accuse Hugo of being film. In Paris that inevitably remind- behind them the poor Quasimodo, simplistic black-and-white. ed us of the Africans with no iden- dreaming of becoming stone like tification papers, not so long ago, the gargoyles. That was not satis- Without daring to connect who took refuge in a church, and factory and even bluntly disap- Frollo’s cruelty explicitly with the door was chopped down to pointing, the animated happy end religious fanaticism, the ani- seize them for questioning. leaves one still further from the last mated feature still makes you The final scenes, diverging more pages of the novel with its double think of it momentarily, and than in any preceding versions, tragic ending, ironically represent- that’s to its credit. from the ending planned by Hugo, ed by two marriages: that of falls back on cliches. In consistent Phoebus with his noble lady Fleur- evil, Frollo wants to stab de-Lys, and that poignant “wed- Quasimodo, but Esmeralda is there ding” of Quasimodo desperately The Best of American Mentality to save her friend, and then clutching the corpse of Esmeralda This sort of simplification does- Phoebus catches him in flight. The even in death. Perhaps it needed a n’t only lead to drawbacks and poet like Jacques Prévert (in the shortcomings. In Dieterle’s lineup of adaptation that was filmed in 1956 characters, Frollo ends up con- by Jean Delannoy) to have Hugo’s densing in himself the most abom- “grotesque” and “sublime” last sen- inable traits of 20th-century crimi- tence about Quasimodo spoken on nals, the war crimes and crimes the soundtrack: “When they tried against humanity, those who to detach him from the skeleton that ordered the massacres at Ouradour he embraced, it fell into dust.” and Vietnam, the genocides and —Translated from the French by ethnic purifications. Hugo himself William Moritz prefigured this distantly with the Clopin Trouillefou, narrator of The protagonist of a too-little-known Hunchback of Notre Dame drama that he wrote almost 40 © Walt Disney Pictures years later, Torquemada, the Grand Inquisitor, an emblematic figure of only point in common with the Arnaud Laster, Master of Lectures what today is called “right-wing novel is the fall of Frollo from the in French Literature at the New fanaticism”. Without daring to con- high towers of Notre-Dame, but not Sorbonne (University of Paris III), nect Frollo’s cruelty explicitly with indeed because of Quasimodo, author of books on Victor Hugo religious fanaticism, the animated since undoubtedly the authors did (of which Pleins feux sur Victor feature still makes you think of it not want to tarnish his unvarying Hugo was published by the momentarily, and that’s to its credit. kindness by making him push his Comédie-Française) and co-edi- Similarly Phoebus’ refusal to obey, master to his death. There couldn’t tor, with Danièle Gasiglia-Laster, “My role as a soldier isn’t to kill inno- be a more conventional “Happy of the complete works of cent people”, and his discharge End”: the pretty Esmeralda (she in Jacques Prévert in the Pléiade edi- from the army (discreetly suggest- undeniably pretty, and so much tion. He teaches notably the rela- ed) give validation, for the audience more, just as Hugo had imagined tion of cinema and music with of children, to a type of non-con- her) marries the handsome Phoebus the works of Victor Hugo, and formist behavior. One discovers here (or whoever that creature really is) analyzes the screenplays and dia- the best of American mentality, quite under the touching gaze of logues of Prévert. in accordance with Hugo: their Quasimodo. In Dieterle’s version, capacity to say “no” to a law and Phoebus did not escape Frollo’s dag-

ANIMATION WORLD MAGAZINE January 1997 59 EnEn attendantattendant HugoHugo

par Arnaud Laster ien que William Moritz ait dessin animé: la réussite du chef- était impossible de présenter un déjà fait une critique du d’oeuvre de Jacques Prévert et Paul personnage de prêtre malfaisant. BBossu du Notre Dame dans Grimault, Le Roi et l’Oiseau., en Cette censure prive l’oeuvre d’une notre numéro de juillet 1996, nous témoigne. de ses tensions les plus fortes: la avons pensé qu’il serait intéressant Pour aller tout de suite à l’essen- monstruosité de Frollo résulte en de publier la réaction d’un spé- tiel, Le Bossu de Notre-Dame, tel effet du refoulement auquel le con- cialiste de l’oeuvre de Victor Hugo que je viens de le découvrir, m’ap- traint l’obligation de continence et à l’occasion de la sortie du film en paraît beaucoup moins une adap- de célibat imposée au clergé d’oc- France le 27 novembre dernier. tation du roman de Hugo que de cident par l’Eglise catholique. Arnaud Laster est également l’au- sa précédente et fameuse version Victime de cet interdit, horrifié de teur d’ouvrages sur Jacques cinématographique américaine, sa propre sexualité, il en vient à ne Prévert, dont l’abondante carrière réalisée en 1939 par William plus supporter celle des autres et de scénariste a aussi couvert le Dieterle. La musique du générique à persécuter l’amour; l’appel de la cinéma l’animation. en fournit un premier indice. La chair se fait si impérieux qu’il a fonction de Juge dévolue à Claude recours au chantage, se rend Quand on aime, comme moi, Frollo et son statut originel coupable d’une tentative de viol le roman de Victor Hugo, Notre- d’archidiacre transféré à un ecclési- et, faute de pouvoir posséder l’ob- Dame de Paris, que penser de son astique bienveillant en constituent jet de son désir, finit par se réjouir adptation par les studios Disney, deux autres, plus révélateurs de voir Esmeralda livrée au bour- sous le titre, traditionnel en langue encore. On notera qu’en 1996 reau. Gageons que le souci d’é- anglaise, Le Bossu de Notre-Dame encore tout se passe comme s’il pargner aux enfants l’évocation de ? Je dois d’abord préciser que tels tourments s’est oppor- je n’ai vu le dessin animé tunément ajouté à la préoccu- qu’une seule fois et dans sa pation de ne pas choquer les version française, la seule qu’on adeptes d’une religion toujours puisse voir à Paris, aucun ciné- puissante aux Etats-Unis et ma ne proposant la version ailleurs. L’obsession de Frollo originale, ce qui prouve à l’év- inspire tout de même une idence que le public visé par séquence, que j’ai trouvée les distributeurs est surtout celui esthétiquement la plus belle et des enfants et en aucun cas qui, exceptionnellement, use celui des cinéphiles. Or il n’est avec talent des moyens spéci- pas inconcevable d’intéresser Esmeralda greeting Quasimodo during the Festival of fiques du dessin animé: celle des adultes exigeants à un the Fools. où les flammes qui s’échappent © Walt Disney Pictures

ANIMATION WORLD MAGAZINE January 1997 60 personnage composé par neront les futurs combats de Hugo Charles Laughton semble et par le renfort qu’elle n’a cessé avoir servi de modèle mais la d’apporter à la lutte contre les laideur qui le rendait si racismes de la fin de son siècle et intéressant, voire fascinant, du nôtre. a été atténuée jusqu’à l’é- Le capitaine Phoebus, avec sa dulcoration. Le pauvre bossu barbiche blonde et son visage n’est plus que gentillesse et d’une banalité complète, manque dévouement, alors que dans totalement de séduction, son seul le roman de Hugo, sa diffor- atout dans le roman. Il est censé mité et sa surdité, lui ayant ici revenir d’une guerre où il s’est Esmeralda et Phoebus dans le Bossu de Notre attiré la répulsion générale distingué mais, au lieu d’agir en Dame. © Walt Disney Pictures et l’ayant isolé, il se comporte soldat discipliné et sans état d’âme en chien méchant au service comme dans le roman, il contre- d’une cheminée auprès de laque- de son pére (adoptif) et maître, carre le zèle répressif des gen- lle se tient le redoutable juge, dessi- jusqu’au moment où, sur le pilori, darmes, demande à Frollo nent la forme d’Esmeralda. Esmeralda lui ayant donné à boire, d’abréger le supplice de Les auteurs du dessin animé il verse sa première larme. Cette Quasimodo, revendique pour ont poussé la fidélité au film de scène sublime, chargée d’émotion Esmeralda le droit d’asile. A force Dieterle ou le respect de celui que et porteuse d’une des significations de ramener les personnages à des les media continuent fréquemment majeures du roman -puisque la stéréotypes, l’adaptation, involon- d’appeler “le Saint-Père” jusqu’à compassion, témoignée par tairement, fait une fois de plus la couronner en Quasimodo non, Esmeralda, non seulement ouvre démonstration la plus éclatante de comme chez Hugo, un “pape” des le coeur de Quasimodo et le l’originalité de Hugo par rapport fous mais un “roi”. En revanche, ils change mais également se com- aux codes du mélodrame: dans le n’ont pas conservé le Louis XI du munique aussitôt à la foule- perd roman, le jeune premier n’a qu’une film de Dieterle, idéalisé au point de sa puissance parce qu’elle ne belle prestance et aucun sentiment de devenir le porte-parole de fait pas assez confiance à la sensi- véritable; quant à Frollo, c’est par Hugo, ce qui était à la fois une bilité. un mouvement sincère de charité, infidélité au roman et aux ten- Cependant la mise en accusa- et non contraint et forcé, qu’il a dances antimonarchiques du tion de Frollo -”Vous maltraitez cet recueilli l’enfant abandonné et romancier, déjà bien sensibles à homme comme vous maltraitez un infirme auquel il a donné pour l’époque de Notre-Dame de Paris. peuple”- que l’épisode inspire à nom Quasimodo, et c’est par Ils lui ont substitué en quelque Esmeralda s’inscrit dans une inter- lâcheté, et non pour lui donner sorte un souverain de la Cour des prétation actualisante, directement une leçon qu’il ne vient pas au sec- Miracles, Clopin Trouillefou, et l’ont héritée de celle que investi d’une fonction de narrateur proposait le film de qu’il ne méritait guère. De plus, ils Dieterle à la veille de lui ont donné l’allure d’une espèce la guerre de 1939. La de Cyrano de Bergerac, tel persécution des Gitans qu’Edmond Rostand l’a caricaturé, et celle de Quasimodo et c’est sa silhouette bien peu goth- ont en commun de ique qui tient la vedette sur les viser des différences affiches, en une sorte de contre- dont le caractère publicité involontaire. Hugo l’avait superficiel est à juste traité tout autrement dans sa pro- titre souligné. En cela pre adaptation du roman en livret au moins on retrouve d’opéra (musique de Louise Bertin): une des dimensions il avait fait de Clopin un complice du roman les plus por- de Frollo. Les Gargouilles avec Quasimodo et Esmeralda dans Le teuses d’avenir, par la Bossu de Notre Dame Physiquement, Quasimodo ne suite que lui don- © Walt Disney Pictures me paraît guère mieux réussi: le

ANIMATION WORLD MAGAZINE January 1997 61 ours de Quasimodo lorsque celui- Hugo, leur capacité de dire non à pas du coup de poignard de Frollo ci est au pilori. Par la mise en con- l’ordre et à la loi lorsqu’ils bafouent et c’est un personnage non retenu formité des personnages avec les le droit et la liberté. La révolte con- par le dessin animé, Gringoire, figures conventionnelles du héros tre le juge inique et contre l’injus- promu porte-parole de Hugo dans généreux ou du méchant intégral tice régnante en la personne du un autre registre que celui du roi le scénario du dessin animé per- ministre de la justice qu’est ici Frollo Louis XI, qui gagnait l’amour met de mesurer combien l’on a été est un des trop rares moments exal- d’Esmeralda, et le couple laissait injuste en taxant Hugo de tants du film. Cela sonne à Paris derrière lui le pauvre Quasimodo, manichéisme. comme une revanche des Africains rêvant d’être de pierre comme une Ce raidissement des oppositions gargouille. Ce n’était déjà guère n’a pas que des inconvénients: satisfaisant et même carrément dans la ligne du personnage de décevant mais, cette fois, on est Dieterle, Frollo finit par condenser encore plus loin des dernières en lui les traits des plus abom- pages du roman et de sa double inables criminels du XXe siècle, fin tragique, représentée ironique- ceux qui cumulent le crime de ment par deux mariages: celui de guerre et le crime contre l’human- Phoebus avec sa noble fiancée ité, qui ordonnent les massacres Fleur-de-Lys et celui, poignant, de d’Oradour et du Viet-Nam, les Quasimodo avec le cadavre

génocides et la purification eth- Clopin Trouillefou, narateur du Bossu de d’Esmeralda, désespérément nique. Chez Hugo lui-même il pré- Notre-Dame étreint. Peut-être fallait-il un poète figurait lointainement le protago- © Walt Disney Pictures comme Jacques Prévert pour faire niste d’un drame trop méconnu entendre, dans l’adaptation que qu’il écrira près de quarante ans sans-papiers réfugiés, il y a peu, réalisa Jean Delannoy en 1956, la plus tard, Torquemada, le grand dans une église dont on força les sublime dernière phrase de Hugo, inquisiteur, figure emblématique portes à coups de hache pour les à propos de Quasimodo: “Quand de ce qu’aujourd’hui l’on appelle interpeller. on voulut le détacher du squelette intégrisme. Sans oser rattacher Le dénouement, en s’écartant qu’il embrassait, il tomba en pous- explicitement la cruauté de Frollo plus que dans toutes les versions sière”. au fanatisme religieux, le dessin précédentes, de la fin prévue par animé y fait penser par instants et Hugo, retombe dans les clichés. En cela est méritoire. De même que méchant conséquent, Frollo veut le refus de Phoebus d’obéir -”Mon poignarder Quasimodo, mais rôle de soldat n’est pas de tuer des Esmeralda est là pour retenir son Arnaud Laster, maître de con- innocents”- et sa démission de l’ar- ami au-dessus de l’abîme, puis férences de Littérature française à mée, discrètement suggérée, pren- Phoebus pour le rattraper au vol. la Sorbonne Nouvelle (Université nent valeur, à l’usage d’enfants, Seul point commun avec le roman, Paris III), auteur de livres sur Victor d’exemples d’un type de com- la chute de Frollo du haut des tours Hugo (dont Pleins feux sur Victor portement non conformiste. On de Notre-Dame, mais non point du Hugo, publié par la Comédie- retrouve là le meilleur de l’esprit fait de Quasimodo dont on n’a Française) et responsable, avec américain, accordé à celui de sans doute pas voulu ternir Danièle Gasiglia-Laster, de l’édi- l’inaltérable gentillesse en lui faisant tion des Oeuvres complètes de jeter son maître dans l’abîme. Jacques Prévert dans la Happy end on ne peut plus con- Bibliothèque de la Pléiade, ventionnelle: la jolie Esmeralda - enseigne notamment les relations jolie elle l’est indéniablement et du cinéma et de la musique avec tant mieux, Hugo l’a bien imaginée l’oeuvre de Hugo et analyse les ainsi — et le beau Phoebus — ou scénarios et dialogues de Prévert qui devrait l’être- se marient sous l’oeil attendri de Quasimodo. Chez Esmeralda & Quasimodo. © Walt Disney Pictures Dieterle, Phoebus ne réchappait

ANIMATION WORLD MAGAZINE January 1997 62 by Wendy Jackson ith the recent revelation imagery from an artistic perspective, apocalyptic comedy gave me an by NASA that a crashed I just had to admire the spectacular unnerving yet calm feeling of accep- Wmeteorite seems to indi- production design and effects. And tance of this extremist fantasy of cate the existence of life on Mars, while I wasn’t busy analyzing the universal evolution. I just have to the timing of the release of the wonder: What would new Warner Bros. film Mars Darwin think? Attacks! makes the scientific dis- covery seem like an outrageous It Started With Stop- publicity stunt. Motion Coincidence aside, the lat- From the start, Burton had est project from director Tim always envisioned the Burton, Mars Attacks! is an over- Martians in the film being the-top alien extravaganza animated with the type of based on an obscure series of stop-motion techniques used trading cards originally pub- in his earlier films Vincent, lished by the Topps Chewing The Nightmare Before Gum Company in 1962. Also Christmas and James and inspired by low-budget B-movie the Giant Peach. The ani- science fiction flicks of the time, mation was originally intend- Burton explains his motivation ed to be done by Burton’s to create the film; “I wanted to previous collaborators at do something fun, [make] the Skellington Productions, but kind of movies I grew up Henry Selick and company watching. Growing up on all were still busy working on those movies about Martians James and the Giant Peach. with big brains sort of stays with So, while still in the initial you forever.” stages of screenplay and Maybe it’s the fact that I’ve visual development, Burton already seen the film three turned to artists in times, but it seems that Burton’s Manchester, England. vision will, as he says, stay with To create the intricate Sketch by Tim Burton for Mars Attacks!. me forever. Upon first viewing, © 1996 Tim Burton, from Mars Attacks! The Art of the Movie by Martian puppets, Burton in fact, I felt that the images Karen R. Jones. contracted the services of were too graphic, particularly model makers Ian the scenes in which the Martians animation techniques, the action Mackinnon and Peter Saunders, burned hordes of unsuspecting had me on the edge of my seat, whose credits include the creation humans to a crisp with reckless either grinning or slack-jawed. At of puppets for Paul Berry’s Academy abandon. But looking at the once horrifying and hilarious, the Award-winning stop motion

ANIMATION WORLD MAGAZINE January 1997 63 ning visual effects in recent years, including Jurassic Park, Jumanji, The Mask, Death Becomes Her and Terminator 2. ILM’s visual effects supervisor, Jim Mitchell notes: “We were really excited about working with Tim because of his animation background and strong sense of design.” Working under Mitchell were nearly 60 full-time ILM staff cre- ating all of the Martian character sequences in the film; twenty ani- The President (Jack Nicholson) is confronted by a Martian in Tim Burton’s Mars mators choreographed the Attacks!. Martians’ movements, while 27 © 1996 Warner Bros. technical directors generated the shortThe Sandman. Mackinnon uled release. And so, nine months texture and lighting effects for each noted that, “It seemed a rather into the stop-motion production, frame and ten match-movers placed brave route to be taking, but Tim the model animation team was dis- the characters in perspective in the has always been a great believer in pensed with and replaced by 3D 3D digital environment. the artistry of puppet animation.” computer animation. (Purves gives Within a few weeks, Mackinnon a first hand account of this experi- At once horrifying and hilari- and Saunders had amassed a large ence in the April ‘96 issue of ous, the apocalyptic comedy team of sculptors working in L.A. Animation World Magazine.) Not all gave me an unnerving yet calm and the U.K., who were busy build- of the model work was done in feeling of acceptance of this ing hundreds of identical 15-inch vain. Movements and gestures extremist fantasy of universal Martian puppets. Mackinnon, over- developed by Purves’ team were evolution. seeing production in Los Angeles, adapted to the computer charac- was soon joined by contemporary ters. Mackinnon and Saunders’ pup- master puppet animator Barry pets were digitally scanned and ren- Meanwhile, Warner Bros.’ newly Purves, creator of such festival dered into computer models, while formed visual effects facility, Warner award-winning short films as Next, the 15-inch puppets were cast into Digital Studios, created the com- Screenplay and Achilles. With Purves enlarged full-scale Martians to be puter-generated flying saucers, acting as animation director, elabo- used in several of the film’s live- death rays, photo-realistic global rate sets were constructed and film- action scenes. destruction, and atmospheric ing began. “We spent months work- Enter Industrial Light and Magic, scenes. Michael Fink, vice president ing on bizarre little Martian gestures creators of some of the most stun- of Warner Digital and senior visual and ways of moving,” Purves recalled. “The animation tests were looking good and suitably creepy.” But the newly formed “dream stu- dio” of a stop-motion facility, dubbed “Stickman” was short-lived.

Reality Attacks! In November 1995, Warner Bros. decided that the time and technical demands of blending stop-motion animation convincing- ly with live-action were just too chal- lenging a task to be dealt with in the year left before the film’s sched- The Martian Ambassador is welcomed to Congress in Tim Burton’s Mars Attacks!. © 1996 Warner Bros.

ANIMATION WORLD MAGAZINE January 1997 64 Martians studying life on Earth in Tim Burton’s Mars Attacks!. © 1996 Warner Bros. effects supervisor on Mars Attacks!, to our animation,” notes Fink. is no stranger to this type of work. In all, the film contains some Mars Attacks! (Warner Bros.) His previous experience includes 120 computer-generated shots. Director-Producer: Tim Burton. directing the famous 1993 Polar However much of an avid stop- Producer: Larry Franco. Screenplay: Bear commercial spot for Coca-Cola motion fan I am, I admit that I can’t Jonathan Gems. Music: Danny and Tim Burton’s Batman Returns. imagine how much of the visuals Elfman. Animation & Special Effects: In working on the production in the film could have been pulled Industrial Light & Magic. Visual design, Fink and his team watched off without at least the aid of com- Effects Supervisor (Martian Character all of Burton’s films to bring his sig- puter animation. After production Sequences): Jim Mitchell. Cast: Jack nature style to their work. “We real- was completed, Burton commented Nicholson, Glen Close, Annette ly studied Edward Scissorhands and that, “At the root of it, animation is Bening, Pierce Bosnan, Danny The Nightmare Before Christmas, animation. Each form requires its DeVito, Martin Short, Sarah Jessica because there are things in the way own special set of circumstances Parker, Michael J. Fox, Rod Steiger, those characters move and in the and expertise.” Maybe so, but it Tom Jones, Lukas Haas, Natalie design of them that carry through seems a great injustice that there is Portman, Jim Brown, Lisa Marie, no mention of Sylvia Sidney, Paul Winfield & Pam Barry Purves’ Grier. work in the “Mars Attacks!” credit roll or even in the otherwise excel- lent Ballantine book, The Art of Mars Attacks!, by Karen R. Jones, in which Mackinnon and Wendy Jackson is Assicuate Editor Saunders’ contri- of Animation World Magazine. Models used for Martians in Tim Burton’s Mars Attacks!. , from butions are cele- Mars Attacks! The Art of the Movie by Karen R. Jones, brated. Well, as © 1996 Warner Bros. they say, “That’s Hollywood!”

ANIMATION WORLD MAGAZINE January 1997 65 IlIl PaesePaese deglidegli animalianimali (Animaland)(Animaland) VVideoideo ReviewReview by Giannalberto Bendazzi n the 1970s and 80s, anyone Bray Studios, David Dodd Hand first Hand exaggerated all the positions researching the history of classical came to Disney on January 20, purely to be polemical, making IAmerican animation was faced 1930, a Friday. That was the day them completely unnatural by con- with a panorama of numerous pro- his difficult, contradictory but cre- temporary standards. “There you ducers, directors and artists who ative relationship with Walt (who, are, Dave, that is exactly what I were still alive and more than ready in the words of many studio veter- wanted!,” exclaimed “Mickey to tell of their experience; in addi- ans interviewed later on was, to put Mouse’s father” before his amazed tion, there were surviving friends, it mildly, “a very complicated man”) artist. This was to become a lesson acquaintances and relatives, as well as earlier interviews. The only real mystery surrounded David Hand. Hand had been Disney’s right hand man on the creative side for about 10 years. He was credited as the director on Snow White and the Seven Dwarfs and Bambi; he then emigrated to Great Britain to set up a large studio there. But after that? Nothing. He reappeared one evening, shortly before his death, to collect an Annie Award from ASIFA-Hollywood, a branch of the professional animator’s organization, for his lifetime achievements. He did leave a small book of memoirs which were published posthu- mously on her own by his widow, Martha, and which only a few of us

were lucky enough to get our Ginger Nutt’s Bee Brother, an Animaland film directed by Bert Feldstead. hands on one. Now, precisely 10 © G.B.Animation. Courtesy of Streamline Pictures. years after his death (he was born in 1900), thanks to a lucky combi- began. Hand tells us that one of his on animated cartoons (to make a nation of chance and the clever boss’ greatest problems was his scene cinematically credible, never intervention of an Italian company, inability to explain just exactly what imitate reality, but caricature it the films he made in Great Britain he meant: he knew what he did instead and then carry it to excess), have once again come to light. not like, but did not know how to and also a lesson for Hand, who But let’s start at the beginning. explain what changes needed to from that moment on was able to After gaining some experience in be made. Once, he made him redo anticipate the taste and wishes of New York at the John Randolph a a scene six times until, enraged, Walt Disney better than anyone

ANIMATION WORLD MAGAZINE January 1997 66 Thus his ried twice more and died in 1986. British adventure Here too, his memoirs are reti- began. Hired by cent. Why did he not attempt to set J. Arthur Rank, up a new studio at a time when ani- David Hand mated commercials was starting to established GB boom and promised sure econom- Animation. He fit- ic rewards? Why didn’t he offer his ted out luxurious services to one of the numerous premises in the producers still active, starting with countryside just his friend Walter Lantz, or Warner outside London, Bros., which was still flourishing? amongst all the Reading between the lines of his difficulties of the autobiography, a picture emerges post-war period. of a man who, at the age of 50, He trained a cou- was fed up: he had touched the Ginger Nutt’s Bee Brother, an Animaland film directed by Bert ple of hundred apex of his field, he had exhausted Feldstead. artist and pro- all his energy in an attempt to © G.B.Animation. Courtesy of Streamline Pictures. duced 9 episodes become an industrialist on his own else. of the Animaland series and 10 of account, and finally only wanted to the Musical Paintbox series. The enjoy family life and peace. The British Adventure experience was ended by the pro- However, to get an answer to these On July 21, 1944, after the glory tectionism of the American market, questions, we will have to wait for which refused to buy the British more research to be done by new Hand tells us that one of shorts. historians. Disney’s greatest problems was In 1950, Hand returned to his his inability to explain just motherland and left animation for- The Good News exactly what he meant. ever. He went to live in Colorado Now let us get to the good Springs and, later, in the small news, which led us to honor this of Snow White and Bambi, Hand California town of Cambria; he mar- underappreciated master. His British resigned. Marc Eliot, a real backbiter (as seen in Walt Disney, Hollywood’s Dark Prince, the most hostile of Disney’s biographers), sug- gests that the boss, a callous moral- ist, had begun to detest his employ- ee when he had gone to live with a new companion before his divorce had been finalized. Hand is vague, in his memoirs, and describes a confidence which had deteriorated bit by bit, an atmos- phere which had imperceptibly become unbearable. In fact, one might believe that he had almost begun to get in the way. Fond and loyal, but definitely not a yes man, he had grown professionally, until he had become not only Disney’s right hand man, but almost his alter ego, a potential menace for a ruler who wished to be absolute. A Fantasy on London, a Musical Paintbox short directed by Pat Griffin © G.B.Animation. Courtesy of Streamline Pictures.

ANIMATION WORLD MAGAZINE January 1997 67 Gremlins fame) happened along about animals interspersed with and saw the films, and recognized musical interludes, which reminds them as being by David Hand. one of Disney’s Silly Symphonies Kramer then got in touch with the from the 1930s, but without the filmmaker’s son, David Hale Hand, affection sometimes found in the and together they planned to originals. There is also the surpris- restore the films and their commer- ing anticipation of the stylized and cial rerelease. But who could simplified manner of the UPA films finance such a project? of the 1950s; for instance, look at From this point on, the story also The Ostrich, with its animated becomes part of Italian animation Egyptian hieroglyphics. history. Luigi Affaba and Carlo Fei, the Milanese owners of Alfadedis, There is also the surprising a home video production compa- anticipation of the stylized and ny specializing in animation, also simplified manner of the UPA happened to be in California. films of the 1950s. Kramer and Hand Jr. had already David D. Hand when he was Managing Director and Production Supervisor of heard of them and started pursu- Despite the heavy stylistic influ- Gaumont British Animation. Courtesy of ing them and an agreement was ence of Hollywood, the Animaland Giannalberto Bendazzi. reached: Alfadedis would finance films represent an important part of films have been recovered and have the restoration and, in return, the history of West European ani- been reissued in grand style on would acquire the video rights to mation, the product of its first large video, rather than via a retrospec- the films. This was quite a risk for scale studio and the first to use the tive in a remote festival. As often the two Italians, who had only seen Disney model, in its authentic form. happens, it all happened quite by a part of the material and for the Amongst the animators trained by chance. most part just relied on their Hand, at least one, Nicholas Spargo, Ken Kramer is the owner of the instincts. was later to become a master of Clip Joint in California, a company Now the Animaland video (Il London animated commercials, and which collects old films and acts as Paese degli animali in Italian) is a John Wilson had fruitful career in an advertis- the United States, highlighted by ing ware- the Shinbone Alley feature. house. One fine day, the Il Paese degli animali (Animaland). cleaning A videocassette of nine shorts for man at an children by David Dodd Hand. old ware- Edited by Ken Kramer and David house Hale Hand. Produced by Alfadedis. approached Voices by Luca Barbareschi. Release him with a date: December 4, 1996. box full of some very Editor’s Note: In 1992, Los Angeles- old 35mm based Streamline Pictures did Technicolor release a video containing four of prints; David Hand’s British films under the Kramer sent title David Hand’s Animaland. It the man Clean Up Model Sheet for G.B.Animation short. © 1948 G.B. included three of the Animaland packing Animation. Courtesy of Giannalberto Bendazzi. and one of the Musical Paintbox with a few reality, dubbed into Italian by the series. The tape is now out of print, dollars, mostly to keep him happy. multitalented actor Luca but Streamline is said to be in line to He was thus quite taken aback Barbareschi. What can be said of it? release the Alfadedis series in the when director Joe Dante (of That these are brilliant fairy tales United States.

ANIMATION WORLD MAGAZINE January 1997 68 IlIl PaesePaese deglidegli

animalianimali Video Review di Giannalberto Bendazzi er chi, negli anni Settanta- John Randolph Bray, David Dodd polemica tutte le posizioni, in un Ottanta, faceva ricerche sulla Hand approdò alla Disney il 20 gen- modo che secondo gli standard del- Pstoria dell’animazione ameri- naio 1930, un venerdi. Da quel l’epoca era completamente innatu- cana classica, ii panorama era fatto giorno cominciò la sua relazione dif- rale. “Ecco. Dave, è esattamente di numerosi produttori, registi, dis- ficile, contraddittoria ma creativa quallo che volevo!”, esclamò il “papà egnatori ancora viventi e pronti a con Walt (il quale, nelle parole una- di Topolino” davanti al suo sbigotti- raccontare le loro esperienze, o di nimi di tutti gli altri veterani dello to artista. Questa doveva diventare amici, conoscenti, parenti supersti- studio più tardi intervistati, era, a dir una lezione sull’animated cartoon ti, o di interviste precedenti. L’unico poco, “a very complicated man”). (per rendere cinematograficamente mistero riguardava David Hand. Era stato per una decina d’anni il numero due artistico della Disney, aveva firmato la regìa del mitico Biancaneve e i sette nani e di Bambi, era emigrato in Gran Bretagna per fondare qui una grand casa di produzione. Ma oltre a questo? Il nulla. Ricomparve una sera per ritirare un Annie Award alla carriera, assegnatogli dall’associ- azione degli animatori californiani Asifa-Hollywood, poco prima di morire, Postumo, ha lasciato un lib- riccino di memorie (sarebbe meglio dire appunti autobiografici) pubbli- cato in proprio dalia vedova Martha, su cui in pochissimi abbiamo avuto la fortuna di mettere le mani. E ora, giusto dieci anni dopo la sua scom- parsa (era nato nel 1900), tornano Ginger Nutt’s Bee Brother, an Animaland film directed by Bert Feldstead. © G.B.Animation. Courtesy of Streamline Pictures. alla luce, per una fortunata combi- nazione di caso e di intelligente Racconta Hand che uno dei grandi credibile una scena, mai imitare la intervento di una casa produttrice problemi del suo boss era l’inca- reaità, ma caricaturarla e quindi por- italiana, i suoi film girati in Gran pacità di spiegarsi: sapeva che cosa tarla all’eccesso) e anche una Bretagna. non gli piaceva ma non sapeva sug- lezione per David Hand, il quale da Ma andiamo con ordine. gerire le correzioni. Una volta lo allora seppe anticipare i gusti e i Dopo essersi fatto le ossa a New obbligò a rifare una scena sei volte, voleri di Walt Disney meglio di chi- York presso la casa di produzione di finché egli, furibondo, esagerò per unque altro.

ANIMATION WORLD MAGAZINE January 1997 69 “Musical Paintbox.” L’esperienza fu chiusa dal protezionismo del mer- cato americano, che rifiutò di acquistare i cortometraggi britanni- ci. Nel 1950 Hand ritornò in patria e lasciò per sempre I’animazione. Visse a Colorado Springs e poi nelia piccola città californiana di Cambria, si sposò altre due volte, Morì nel 1986. Anche qui, le sue memorie sono reticenti. Perché non tentò di costituire un nuovo studio, proprio in un’epoca in cui la pubblicità a dis- egni animati stava diventando richi- estissima e prometteva uno sbocco economico sicuro? Perché non si offrì a uno dei numerosi produttori dell’epoca, da Walter Lantz che era suo amico alla Warner Bros. che era Ginger Nutt’s Bee Brother, an Animaland film directed by Bert Feldstead. ancora fiorente? Fra le righe della © G.B.Animation. Courtesy of Streamline Pictures. sua autobiografia si legge il ritratto di un uomo che, giunto a varcare i Il 21 luglio 1944, dopo la attrezzò una sontuosa sede nella cinquant’anni, ne ha abbastanza: gloria di Biancaneve e di Bambi, campagna londinese in mezzo a ha toccato il vertice nel suo settore, Hand diede le dimissioni. Quella tutte le difficoltà del dopoguerra, ha esaurito le energie nel tentati- malalingua di Marc Elliot (il più ostile addestrò un paio di centinaia di dis- vo di diventare industriale in pro- dei biografi di Disney, autore di Walt egnatori, e produsse 9 episodi della prio, e finalmente desidera solo Disney, Hollywood’s Dark Prince) serie “Animaland” e 10 della serie godersi la famiglia e la quiete. Ma suggerisce che il capo, moralista incallito, avesse cominciato a detestare il suo collaboratore quan- do questi era andato a vivere con una nuova compagna prima anco- ra che il divorzio dalla moglie fosse pronunciato. Nelle sue memorie, Hand è sfumato, e descrive una fiducia man mano deteriorata, un’atmosfera insensibilmente fattasi irrespirabile. Di fatto, c’è da credere che egli fosse diventato ingom- brante. Affezionato e leale, ma cer- tamente non uno yes man, egli era cresciuto professionalmente fino a diventare non solo un braccio destro, ma addirittura un alter ego, una potenziale minaccia per un monarca che si voleva assoluto. Cominciò allora l’avventura inglese. Ingaggiato dalla Rank, David Hand fondò la GB Animation, A Fantasy on London, a Musical Paintbox short directed by Pat Griffin © G.B.Animation. Courtesy of Streamline Pictures.

ANIMATION WORLD MAGAZINE January 1997 70 commerciale. Ma chi può pensare 1’episodio The Ostrich, con l’ani- al finanziamento? Qui diventa sto- mazione dei geroglifici egizi. ria anche di casa nostra. Sono in Nonostante la sua impronta holly- California i milanesi Luigi Affaba e woodiana, Animaland costituisce Carlo Fei, titolari dell’Alfadedis, una un “pezzo” importante per la storia casa produttrice di homevideo spe- dell’animazione europea occiden- cializzata nell’animazione. Kramer tale, il risultato del primo grande e Hand Jr. conoscono i due per studio di produzione e primo a fama, li rincorrono, trovano con importare sul nostro suolo la lezione loro un accordo. Alfadedis disneiana nella sua accezione aut- finanzierà il restauro e in con- entica. Fra gli animatori addestrati tropartita acquisirà il diritto alla ver- da Hand almeno uno, Nicholas sione in videocassetta dei film. Con Spargo, era poi destinato a un bel rischio d’impresa da parte diventare un maestro dell’ani- dei due italiani, che hanno vision- mazione pubblicitaria londinese, ato solo una parte del materiale e mentre John Wilson acquisì celebrità David D. Hand when he was Managing per il resto si sono fidati dell’istinto. in America con varie prouzioni fru Director and Production Supervisor of Ora la cassetta di Animaland cin il lungometraggio Shinbone Gaumont British Animation. Courtesy of (in italiano IlPaese degli animali) è Alley. E per l’Italia, si tratta di una Giannalberto Bendazzi. una realtà, con il doppiaggio del prima visione. per le risposte precise occorrerà proteiforme Luca Barbareschi. Che aspettare le ricerche di nuovi stori- dirne? Che sono brilianti vicende Il Paese degii animali, videocasset- ografi. fiabesche di animali condite da inter- ta di 9 cortametraggi per bambini di E ora eccoci alle buone mezzi musicali, che danno l’impres- David Dodd Hand. A cura di Ken notizie, quelle che ci hanno dato sione di Silly Symphonies disneiane Kramer e David Hale Hand. lo spunto per rievocare questo degli anni Trenta ma senza quella Produzione Alfadedis, Milano. Voci maestro misconosciuto. I suoi film leziosità che talvolta in quelle face- di Luca Barbareschi. In distribuzione inglesi sono stati recuperati, e per va capolino. Vi si trova anche la sor- dal 4 dicembre. di più ora escono di nuovo a vele prendente anticipazione delia spiegate, in videocassetta anziché “maniera” stilizzata ed essenziale in qualche remota retrospettiva di degli anni Cinquanta: si veda un festival specializzato. Come spes- so accade, tutto è nato dal caso. Ken Kramer è titolare in California della Clip Joint, un’azienda che rac- coglie vecchi film e serve come archivio per la pubblicittà. Un bel giorno gli si presenta il ragazzo delle pulizie di un vecchio maga- zzino, che gli offre uno scatolone di arcaiche bobine Technicolor a 35 mm; Kramer lo sbriga via con pochi dollari, tanto per accontentario. Resta di stucco quando un visita- tore occasionale, il regista Joe Dante (quello di Gremlins), visiona il materiale e riconosce l’impronta di David Hand. Kramer si mette in contatto con il figlio del cineasta, David Hale Hand, e insieme fanno un progetto di restauro e di rilancio Clean Up Model Sheet for G.B.Animation short. © 1948 G.B.Animation. Courtesy of Giannalberto Bendazzi.

ANIMATION WORLD MAGAZINE January 1997 71 Compiled by Harvey Deneroff erein are the various picks of what films and other cultur- Hal artifacts four present and Tom Knott’s baker’s dozen . . . former animation festival directors Crac by Frédérick Back would take along with them to a Dumbo by Ben Sharpstein desert island: Tom Knott (former Begone Dull Care by Norman McLaren director of the Ottawa International One of Joanna Priestly’s films. I couldn’t decide which one, Animation Festival), Gigi Hu (co- as they are all founder and co-director of good. Singapore’s Animation Fiesta), Chris The Thief and the Cobbler in Richard William’s version. The Robinson (current director of the greatest animated Ottawa International Animation feature ever made and never seen. Festival) and Philippe Moins The Sweater by Sheldon Cohen (founder and current co-director of Adventures of * by John Hubley the Brussels Animation Festival). Gerald McBoing Boing by John Hubley They are also joined by Beavis and Feed The Kitty by Chuck Jones Butt-head Do America’s animation The Snowman by Diane Jackson director, Yvette Kaplan. Creature Comforts by Nick Park Tango by Zbignew Rybczinski Philippe Moins’ . . . The Simpsons:Last Exit to Springfield by Mark Kirkland (the Here are my choices for the holidays on episode with Homer as the head of the union). the moon: I could say Le Cuirassé Potemkine (Potemkin), Les Enfants du Paradis (Children of Paradise), Citizen Kane and Mars Attacks! to emphasize my cultural ackground. But for this selection, and for the beginning of a new year (hoping better than this one in Belgium), I prefer to give a list of films without any pretention.

1. 9 secondi e mezzo by Vincenzo Gioianola. 2. Early Bird by Peter Lord and David Sproxton 3. Gertie the Dinosaur by Winsor McCay 4. Trainspotting by Jeff Newitt 5. Les Shadoks by Jacques Rouxel 6. All the first Felix the Cat films. 7. The five first minutes of Time Bandits by Terry Gilliam. 8. An Inside Job by Aidan Hickey 9. George and Rosemary by Alison Snowden & David Fine 10. Stalker by Andreï Tarkovsky, especially first 10 minutes.

ANIMATION WORLD MAGAZINE January 1997 72 Gigi Hu’s picks . . . These came to my mind within a minute or so when I first saw your email. I decided to stick to it:

1. The Fish and the Monk by Michael Dudok de Wit, for its simplicity, music and movement synchronization. 2. Song of the Exile. Ann Hui’s film about relationship with parents/grand- parents, very personal. 3. World Apartment Horror by Katsuhiro Otomo, for its multicultural storyline and the anime touch. 4. Excerpts from Sleeping Beauty, especially the magic in the air. 5. Some haunting Mongolian songs—love of the land, the open space and the steppes. 6. Shanghai Animation Studio productions—Chinese watercolor paintings coming alive. 7. No Problem by Criag Welsch. A wacky animation piece. 8. Seven Samurai by Akira Kurosawa. The sheer length, black and white, such storytelling . . . 9. Learning to play Saint-Saëns’s piano piece, The Swan, by heart. 10. Some Scottish Ceilidh music—for the twirl and whirl, friendship spirit . . . Yvette Kaplan’s . . . I love Beavis and Butt-head. They make me laugh. They made me laugh when I first saw Mike Judge’s film, Frog Baseball three-and-a-half years ago and they still make me laugh. My biggest desire in working on Beavis and Butt-head Do America was that people who for one reason or anoth- er never understood the show would get out there and see that, “Hey! I get it! These are two really dumb guys. Two really funny dumb guys. Two really dumb, funny, innocent guys.” And they’d laugh. I think we did it, and I’m really proud and really happy about it.

Chris Robinson’s . . . 1. Amarcord by Frederico Fellini. In no particular order: 2. Cinderfella (Jerry Lewis) by Frank Tashlin. 3. Adventures of an * by John & Faith Hubley. 1895 by Priit Parn & Janno Poldma. 4. Angels With Dirty Faces by Michael Curtiz, with James The Sweater by Sheldon Cohen) Cagney. Dino, the masterful biography of Dean Martin 5. The Catcher in the Rye by J.D. Salinger. by Nick Tosches. 6. The Wizard of Oz by Victor Fleming. Kiss Me Stupid by Billy Wilder. 7. One Touch of Venus with Robert Walker & Ava Gardner. Bimbo’s Initiation by Dave Fleischer. 8. A Thousand Clowns with Jason Roberts, Jr. Drunken Master 2 by Jackie Chan. 9. Mr. Magoo’s Christmas Carol by Abe Levitow. 1978 National Hockey League semi-final game 10. Gigi by Vincente Minnelli, with Leslie Caron & Louis between Montreal and Boston. Jordan. Cops by Buster Keaton. The Simpsons, particularly the episode where Homer becomes union kingpin (Last Exit to Springfield by Mark Kirkland).

ANIMATION WORLD MAGAZINE January 1997 73 AWN Comics

The Dirdy Birdy by John R. Dilworth

ANIMATION WORLD MAGAZINE January 1997 74 UN Copyright Conference directed by Mike Judge, took in Agrees on Two Treaties. The $20.1 million for its opening week- three-week Geneva-based confer- end in the US and Canada, the ence hosted by the UN’s World largest take for a non-sequel open- Intellectual Property Organization ing in December. The numbers ended December 20 with an agree- seemed to have surprised almost ment by 160 countries on two of everyone in the industry, including three proposed treaties. The treaties, distributor Paramount Pictures. which have to be ratified by the Given the film’s relatively low bud- governments of the participating get (estimated to be between $10 countries, are the first attempt to and $13 million), the film will almost revise international copyright law certainly become profitable in fair- in 25 years and deal with the some ly short order, even if its popularity of the new problems posed by such tronics manufacturers. The stan- wanes in the coming weeks; in fact, new technologies as the Internet. dards pave the way for the coming it could even provide a greater The agreements are intended to of high definition television (HDTV) return on investment than the broaden protection for copyright broadcasting, which conceivably much higher budgeted Space Jam holders, thus encouraging use of could appear as early as 1998, and outdo the equally high cost the Internet to distribute their prod- though this is thought unlikely. Mars Attacks! in gross receipts. uct. Bruce Lehman, the US Conventional wisdom seems to Perhaps the greatest signifi- Commissioner of Patents and indicate that TV sets will increasingly cance of the film’s surprise financial Trademarks, claimed that the be built in a widescreen format. success, is that it is the first American treaties “will be the cornerstone One wonders, how TV shows animated feature aimed at some- of international economic law for designed for the current aspect thing other than a family audience the information and technological ratio will ultimately be handled; to do well since the heyday of age of the 21st century.” back in the early 1950s, when Ralph Bakshi (Fritz the Cat). It also One contentious aspect of the widescreen formats became all the signifies the return of New York as treaties held that even the making rage, older films invariably were a important regional production of temporary computer copies of shown with the tops and/or bot- center for theatrical film. The city material would have violated copy- toms of their pictures cut off. The which was once home to such car- right law, but it was eliminated at coalition of Hollywood creative per- toon stars as Felix the Cat, Betty the last minute. A third treaty, which sonnel, led by Steven Spielberg, Boop, Popeye and Mighty Mouse, dealt with databases, had been unsuccessfully lobbied for standards and such studios as Fleischer and unsuccessfully put forth by the US which would have curtailed this Terrytoons, has been enjoying a delegation, even though it lacked sort of practice (as well as dimin- renaissance of late, thanks in large support in the US Congress. ished the pan and scan tactics used part to the recent animation boom when widescreen films are broad- and the efforts of MTV Networks, FCC Approves Digital Broadcast cast today), but were left behind whose Nickelodeon and MTV cable Standards. As expected, on when their brief alliance with the TV divisions have funded a number December 26, 1997, the Federal computer industry broke down. of New York productions. The Communications Commission largest local employer, though, has approved the new standards Beavis and Butt-head Do America been MTV Animation, which initially worked out by various groups rep- Sets Box Office Record in got into business to make the Beavis resenting broadcasters, the com- Opening Weekend. The and Butt-head TV series. The next puter industry, and consumer elec- MTV/Geffen animated feature, animated feature to be made in

ANIMATION WORLD MAGAZINE January 1997 75 Gotham could be a version of The Beavis and Butt-head Do America Opportunities Expo (the industry’s Stinky Cheese Man, now in devel- and Werner II, from Germany, are premiere job fair); the latter event opment at Nickelodeon Movies. also possibilities. Britain’s Sarah Ann will also include Women in Kennedy will talk about her TV Animation’s Animation Industry Colossal Pictures Takes On series,Crapston Villas, while the Seminars. The event is the brain- Brooks McChesney as President Aaargh! Studio will present a pro- child of Terry Thoren, who is the & Chief Executive Office. The gramof shorts featuring Gogs. On publisher of Animation Magazine appointment, who had been exec- the computer animation front, there as well as president and chief exec- utive vice president and chief oper- will be programs highlighting the utive officer of Klasky Csupo. For ating officer at IVN work of such studios as Ubisoft, further information, including com- Communications, a -based pro- Industrial Light and Magic and petition registration and event ducer and distributor, will take over Medialab.There will also include the schedules, contact the World the reins at the troubled San best of international animation over Animation Celebration, 30101 Francisco studio, which filed for the last year, as well as exhibitions Agoura Court, Suite 110, Agoura, Chapter 11 bankruptcy protection on animation pioneer Emile Cohl, CA 91301 USA, (818) 991-2884, or last May. At the same time, Colossal CD-ROMS, plasticine characters in at [email protected]. co-founder Drew Takahashi now films selected for the Brussels becomes the company’s chief cre- Festival, along with creative work- Emily Hubley’s Her ative officer and chairman. The shops for children. For further Grandmother’s Gift Wins at 30th hope is that McChesney’s appoint- details check out the New York Exposition of Short ment will take the company, which Folioscope/Brussels Festival home Film and Video. This and other had once been one of the largest page. awards will be presented to the commercial houses in the US and winners of the competition in con- an innovative producer of such ani- World Animation Celebration junction with their screening at the mated TV series as Liquid Television Debuts March 24-30. The multi- Donnell branch of the New York and Aeon Flux, will now be able to faceted event, featuring a glitzy rein- Public Library, January 9, 16 and come out of bankruptcy. The stu- carnation of Expanded 23. Admission is free. dio still does commercials on a more Entertainment’s Los Angeles limited basis and has expanded into Animation Celebration, will be held The Hunchback of Notre Dame the Web design business. Once the at the Pasadena Civic Auditorium Gets Golden Globe Nomination. major Bay Area animation house, it and other nearby facilities; the affair Composer Alan Menken received has since been eclipsed by compa- will be done under the aegis of the the nod in the category of Original nies such as Pixar, Twitching Image company’s Animation Magazine Score—Motion Picture. This was the and Wild Brain. division. (The magazine got its start only animated production to as the program book for the old receive a nomination this year. 16th Brussels Cartoon and Animation Celebration, which was (Disney’s animated feature often get Animated Film Festival, the only major animation festival in nominated in the Motion Picture— February 4-16, 1997. The 13-day the US.) The Celebration claims that Musical or Comedy and the event will show no than 14 new it will have “over 1,000 screenings Original Song—Motion Picture cat- features and over 100 shorts, along of both premieres and classics of egories.) The awards, which cover special guests from France, Great animation and anime . . . competi- both movies and television, are pre- Britain, Italy, Germany, the US and tions for features, shorts, screen- sented by the Hollywood Foreign Belgium. The festival opens with writing and original character devel- Press Association and are often seen two live-action/animated features: opment with over $150,000 in as a preview of the Academy Steve Barron’s The Adventures of prize money.” In addition to the Los Awards. The winners will be Pinocchio and Joe Pytka’s Space Angeles Animation Celebration, the announced at the 54th annual Jam . Other features include Enzo event will include the New awards show in Beverly Hills on d’Alò’s The Blue Arrow, John Coates’ Animation Technology Exhibition January 19. The Wind in the Willows, and Laila (featuring the latest in hardware Hodelle’s puppet film, The Ballad of and software) and ASIFA- Westwood Studios Releases Holger the Dane. Mike Judge’s Hollywood’s Animation Macintosh Version of Command

ANIMATION WORLD MAGAZINE January 1997 76 and Conquer for DOS. The game, Rugrats Episode on Home Video: mated series created by Chris which has sold over 1.2 million The episode of the popular show, Colombus (now known for direct- units, the company maintains keeps produced by Klasky Csupo, will be ing such films as Home Alone and all the features of the original ver- released by Paramount Home Mrs. Doubtfire), who is in negotia- sion, while adding SVGA graphics Video in July 1997, about eight tions to direct and co-produce the and improved Internet capabilities. weeks before it airs on Nickelodeon. film. It has a suggested retail price in the The special, which tells of a visit to US of $59.99. Las Vegas, is the second of three The following items are from planned for the current season— AWN’s December 21, 1996 The following items are from the others being this year’s Hanukah Email News Flash: AWN’s December 7, 1996 Email special and one due for Mother’s News Flash: Day 1997. The series is also being London International developed into an animated fea- Advertising Awards Announced. Chapman University To Host ture under the Nicktoons Movie The winners in animation-related Symposium on Film banner, which will be released categories are: Preservation and SAS through Paramount. (Both • Animation—Cel: Levi’s for Conference. The Southern Nickelodeon and Paramount are Women, Variations on a Theme, California’ university’s School of Film divisions of Viacom.) Susan Young, London. and Television has put out a call for Director/Animator: Susan papers, pre-constituted panels and MCA Buys Into Bagdasarian for Young. workshops for the one-day event Chipmunks Rights: MCA, Inc. has • Animation—Computer: to take place on April 19, 1997, signed and agreement that will last Mercedes-Benz, Rhinos, Bruce with proposals due in by January a minimum of10 years with Dowad Associates, Hollywood. 15, 1997. Bagdasarian Productions for rights Director: Bruce Dowad. The School will also play host to to use the Chipmunks characters • Animation—Stop Frame: the 10th annual Society for for its various activities, ranging Mitsubishi Trucks, Techno Sumo, Animation Studies Conference in from theme parks and licensing to Anifex, Adelaide, Australia. August 1998.This 10 day confer- new projects. The deal includes dis- Director: Michael Cusak. ence will “feature workshops, pan- tribution rights to the several TV els, screenings, demonstrations, series, specials, home videos and NICKELODEON INCREASES scholarly papers, and other events The Chipmunk Adventure animat- DOMINATION OF US KIDS covering a full-spectrum of anima- ed feature. MCA is the parent com- AUDIENCE. Nielsen ratings tion-and motion-picture-related top- pany of Universal City Studios, released by the cable network this ics. Included materials will cover which has several theme parks, as past week were used to back up its areas from pre-cinema devices (opti- well as housing the Universal claim that it controls 57% of the cal toys, magic lanterns, and so Cartoon Studios. Bagdasarian, viewing time for children aged 2- forth) to the latest in new tech- headed by Chipmunks’ creator 11. With the exception of the nologies. A call for papers, pre-con- David Seville, is now based in Santa Cartoon Network, whose penetra- stituted panels and workshops will Barbara, California. tion in the American market is com- be distributed in Fall 1997.” For paratively minimal, no other net- more information on either event, DreamWorks Signs First-Look work or station can match its 103.5 or to be placed on the mailing list, Deal With Vanguard: Vanguard hours of kids programming. (In contact: Dr. Maureen Furniss, Films, headed by John Williams, is comparison, other networks run School of Film and Television, now developing an animated fea- anywhere from 5 to 20 hours a Chapman University, 333 N. Glassell ture based on William Steig’s chil- week.) The ratings also indicate that St., Orange, CA 92866; phone: dren’s book, Shrek, with a screen- Nickelodeon’s viewership is up 15% (714) 744-7018; fax: (714) 997- play being written by Ted Elliot and for the 1996-97 season so far versus 6700; email: Terry Rossio (Aladdin). Also in the an 18% decline for its rivals. They [email protected]. works is Galaxy High School 2000, also claim to have 40 of the top 50 a live-action comedy based on the shows and 78 of the top 100 Paramount to Debut New TMS (Tokyo Movie Shinsha) ani- among children 2-11. The figures

ANIMATION WORLD MAGAZINE January 1997 77 are even more impressive when er and, according to Spencer, is “a feature-length sequels to Don one realizes that it is available in coming-of-age story in the tradition Bluth’s The Land Before Time. The only 71% of American TV house- of Summer of ‘42, Catcher in the animated version of Hercules, one holds, which is much less than the Rye and The Omen. assumes, is being timed to cash in major broadcast networks. With on the publcity generated by Nickelodeon expanding its chil- Rick Rich to Direct Animated Disney’s summer release of dren’s programming, including new The King and I For Morgan Hercules. Nicktoons, into the evening hours, Creek. The adaptation of the its position can only get stronger Rogers & Hammerstein musical had Success of 101 Dalmations Helps over the short term. This domi- been first optioned to be made into Sales of New Tv Series. The ani- nance has led CBS to abandon its an animated feature by Rankin/Bass mated show, which Buena Vista long-standing commitment to Productions, who will co-produce Television will release 65 episodes Saturday morning animation in the film with Morgan Creek and will into the US syndication market, favor of programming aimed at be released by Warner Bros., which which has already been cleared in older kids. brokered the deal. Morgan Creek is more than 85% of the country. The no stranger to theatrical animation, TV series is the first product of DreamWorks’ Invasion America having included an animated Disney’s alliance with cereal manu- Prime-Time Series Set For WB sequence by Chuck Jones in its facturer Kellogg Co., to which Network in 1998. The show, cre- 1992 comedy, Stay Tuned. The film Kellogg has committed advertising ated by Stephen Spielberg and is to be produced by Morgan money. The alliance was in part due executive produced by Star Trek vet- Creek’s James Robinson, to pressures on the syndication mar- eran producer-screenwriter Harve Rankin/Bass’ Arthur Rankin, and ket, as fewer time slots are available Bennett, will be the first show made Peter Bakalian, who co-authored on independent stations, many of by DreamWorks Television the screen adaptation with which have opted to program ani- Animation. The show concerns the Jaqueline Feather and David Seidler. mation from the nascent WB and adventures of a 16-year-old Earth Rankin/Bass is best known for such UPN networks. Even with the boy who is half alien and who leads TV specials as Rudolph the Red Disney and Kellogg’s marketing the planet’s defense against Nosed Reindeer, but also ventured machine behind it, the 101 invaders from the planet Tyrus. It into animated theatrical features Dalmatians TV show is having to will feature the voice talents of with The Last Unicorn. Rick Rich is settle for less desireable time slots Leonard Nimoy, Kristy McNichol, best known as director of The Swan than the Mouse House usually got Edward Albert and Tate Donovan. Princess, the feature produced by in the past. his company Rich Animation, which Alan Spencer and Corky will apparently handle the anima- Cartoon Network Shorts Go Quackenbush Team To Do tion production Theatrical. The cable network is Prime Time Puppet Series on teaming up with General Cinema, Fox. The Fox network, the only ter- Universal to Do Direct-to-Video a major theater chain, and Kraft restrial network with a strong com- Versions of Hercules and Xena. Foods to provide 20 minutes of mitment to prime time animation Universal Studios Home Video plans Cartoon Network programming, (The Simpsons and Mike Judge’s to make animated feature-length including a World Premiere forthcoming King of the Hill) has versions of two of its TV series: Cartoon. The material will be part of put a new, though untitled series Hercules: The Legendary Journeys General Cinema’s Saturday morn- to be animated by Quackenbush, and Xena: Warrior Princess. ing screenings of feature-length whose shorts are one of the high- Hercules is due out in fall 1997 and family films. lights of Fox’s Mad TV show. will feature the voices of the actors Spencer, who is best known for his in the series, including Kevin Sorbo Cinar Films to Increase late-1980s Sledge Hammer comedy and Lucy Lawless, and will also Production By 34% in 1997. The series, will act as executive produc- include three original songs. Montreal-based studio announced er along with Quackenbush and 3 Universal Cartoon Studios will han- that it will increase its spending from Arts Entertainment’s Howard Klein. dle production chores, which also C$42.9 (US$31.6) million this year The series centers around a teenag- made the label’s highly successful to C$57.5 (US$42.4) million in

ANIMATION WORLD MAGAZINE January 1997 78 1997. This includes eight animated L’Histoire du Soldat, has set up a arena; at the same time, it will allow and four live-action shows, both new division, The Ink Tank Too. The Village Roadshow, a major renewals and new shows. Their new division will feature the talent Australian entertainment company, new animated TV shows include of independent filmmaker Suzan to expand into children’s program- The Country Mouse and the City Pitt (Asparagus and Joy Street), ming. Mouse (26 episodes, to be co-pro- Maciek Albrecht (Close to You), duced by France Animation in asso- designer and illustrator Santiago Digital Domain to Expand ciation with Ravensburger Film & Cohen (who has done film work for Commercial Operation and TV) and Dr. Xargle (a 13 episode the Children’s Television Workshop), Signs Limited Pact With IATSE. comic drama to be done with HTV and New Zealand animator John The Venice, California high tech and King Rolo Films in the UK). The Robertson (who has done work for company founded by James Ross, company will also do two series for MTV). The four will be used for TV James Cameron and Stan Winston Teletoon, the all-cartoon cable net- and feature projects. with backing from IBM and Cox work which Cinar has an equity Blechman stated that the four Communications, announced that interest in: Caillou (a series of five- “are true auteurs, [which is] com- they will expand production of TV minute vignettes) and Animal mon enough among independent commercials. This move, which Crackers (based on Roger Bollen’s animators, but highly unusual in comes at a time when a number of comic strip). commercial animation.” Although other CGI/special effects studios are Blechman has often used the withdrawing from this arena, will Ed Jones and Others Leave graphic styles of many other artists entail moving their commercial Cinesite, May Form New in making films and commercials, operations into larger, separate facil- Company. The president of the he has always closely supervised all ities. In addition, the company is Eastman Kodak-owned effects the spots made at the studio for the hiring Patrick Davenport (director house quit his job on Friday, past 20 years. But Blechman felt of special effects at London’s The December 13, along with four of that, “It was time to bring in fresh Moving Picture Company) to his top aides: Sharon Berlin, direc- blood—new attitudes, different become Digital Domain’s director tor of human resources, Warren approaches—to supplement mine.” of digital operations for commer- Franklin, chief operating officer, In doing so, Blechman seems to be cials, and London-based visual Mitzi Gallagher, vice president of returning, in part, to the original effects artist Andy MacDonald production, and Terry Thurlow, idea behind the studio, which (where he has his own company, chief financial officer. Jones, who aimed to hook up the talents of a Chinchilla); both will be moving to was Cinesite’s first employee, gained number of artists with clients; how- California. Finally, Digital Domain considerable exposure lately for ever, the idea was abandoned will start a special group targeting supervising the marriage of live- when most ad agencies just the automotive industry. action and animation in Space Jam. seemed to want work done by The company has also signed (Some years earlier, he did the same Blechman using his fabled squiggly an agreement with the for Who Framed Roger Rabbit.) The line. International Alliance of Theatrical mass exodus seems to be a prelude & Stage Employees (IATSE) cover- to Jones’ forming his own compa- VILLAGE ROADSHOW BUYS ing non-CGI workers hired on a per ny. In the meantime, Aidan Foley, HALF OF YORAM GROSS project basis. That is, the pact the vice president and general man- FILM STUDIOS. Gross, said to includes the traditional “backlot” ager of Cinesite’s Digital Motion be the largest indigenously-owned live-action personnel, but excludes Imaging Division will take over as animation house in Australia, first animators. The Motion Picture president. made its reputation with its series Screen Cartoonists, IATSE Local 839, of Dot feature films, combining ani- has been attempting to organize THE INK TANK SIGNS FOUR mation and live-action. Of late, it digital animators lately with success ARTISTS/FILMMAKERS FOR has concentrated on television, coming mostly at major studios. NEW DIVISION. R.O. Blechman’s gaining a measure of international (For instance, Sony Pictures is now New York-based studio, known for success with its Blinky Bill series. The negotiating a contract with the its TV commercials and specials deal, however, will now permit local for its Imageworks operation, including the Emmy-winning Gross to re-enter the theatrical which has set up a character ani-

ANIMATION WORLD MAGAZINE January 1997 79 mation division.) The only major through which he forged relation- (376-6202), email: independent CGI house where the ships with such studios as Broadcast [email protected]. animation staff is unionized is Arts and R/Greenberg Associates; Industrial Light & Magic, based in more recently he was represented Snow White’s Overdue Royalty. San Rafael, California, which falls by San Francisco’s Colossal Pictures. Walt Disney and video distributor under the jurisdiction of IATSE Local Vester apparently will take Gaumont Buena Vista International 16, in San Francisco. advantage of his move to the Los have been ordered by a Paris court Angeles area to wed his long-time to pay overdue royalties to Lucie Animasia and Kennedy Merge to companion, Irene Kotlarz, who is Dolene, who dubbed the title role Form Animasia International. best known for her work as director in Disney’s Snow White and the Animasia, a Singapore-based studio of the Cardiff Animation Festival and Seven Dwarfs in French over 30 owned by Wurthelam company, its predecessors in Cambridge and years ago. Initially, there will be has merged with Manila-based Bristol. down payment $20,000 for over- Kennedy Cartoons to form a full-ser- due royalties and $6,000 because vice animation studio to make TV ROB COHEN SIGNS WITH her name did not appear in the series, feature films, commercials ILM FOR COMMERCIALS. film’s credits; in addition, a court- and multimedia projects. The new Cohen, director of such major films appointed expert will determine the company is currently doing a pilot as Sylvester Stallone’s Daylight, will exact amount the two companies for a new series, Rebel Without a now be represented by Industrial owe Dolene for video and audio Cause, a “rock ‘n roll comedy” cre- Light & Magic Commercial cassettes sold in France and other ated by Kennedy Cartoons founder Productions, in San Rafael, French-speaking territories.. Glen Kennedy, a Canadian who California, to do TV spots. His past once worked at Hanna-Barbera. work with ILM has included the film US Postal Service Selling The new studio is also as doing the Dragonheart, which featured a Animated Video. The 24-minute animation on the American TV computer animated dragon as one tape from Golden Books, Rudolph, series, Chucklewood Critters of the main characters, as well as Frosty & Friends Sing Along Video, (Encore Enterprises). The new stu- on Daylight. apparently based on Rankin/Bass dio has about 215 people on staff TV specials, is being sold for $4.99 in Manila and 30 in Singapore. BDA to Hold 1st European with the purchase of $3 worth of Conference In Barcelona. BDA Priority Mail. Golden Books has Paul Vester to Join Rhythm & International, an international asso- made 5 million copies of the tape Hues and to Wed Irene Kotlarz. ciation of art directors, animators, available to the Postal Service and is British animator Paul Vester will designers and other design/graph- prepared to make another 5 million close his 23-year-old London stu- ic artists, will hold a two-day available if needed. dio, Speedy Films, by year’s end to design/marketing conference join Los Angeles-based Rhythm & March 3-4, 1997, at the Ritz-Carlton CF VIDEO OPENS FABLEVI- Hues as director of animation, effec- Hotel, Barcelona, in association with SION ANIMATION DIVISION. tive February 1, 1997. Rhythm & PROMAX. One session, “Animation The Watertown, Massachusetts mul- Hues is one of the top CGI houses Art Evolves,” will discuss “a creative timedia and video production in the US and is known for such approach to animation and its use house has opened FableVision commercials as the Coca-Cola Polar in full-length motion pictures, Animation Studios, which will be Bears spots and for its work on such including the technical process and headed by Peter Reynolds. films as Babe. Vester’s focus will lie distribution of digital tools.” Panelists Reynolds had been vice presi- primarily in commercials, but will include Dan Philips (DreamWorks dent/creative director at Tom Snyder also be available for feature work. Feature Animation) and Michael Productions in Boston. The new He has produced a number of spots Coldewey (Munich Animation). division will produce traditional 2D for the American market dating Registration is US$495. For further animated for TV, interactive and cor- back to 1985’s classic Hershey’s spot, information, contact BDA porate productions. The new facil- One of the All-Time Greats. He was International, 145 W. 45th St., Suite ity will be able to take advantage later represented in the US by Andy 1100, New York, NY 10036-4008, of CF Video’s facilities, which 3D Arkin’s Blah Blah Blah, in New York, telephone: (212) 376-6222, fax: computer animation.

ANIMATION WORLD MAGAZINE January 1997 80 Animation World Magazine 1997 Calendar

The February 1997 issue spotlights "Animation Nations," a look at various national animation industries around the world, focusing on the business of animation. Of especial interest is a report of what's hap- pening in Korean's suddenly burgeoning domestic animation industry, a report on labor relations in France, and an analysis of the state of the American animation indus- try. In addition, there will be the first of our occasional "Days in the Life of an Animator" series, this time spotlighting Dutch filmmak- er Piet Kroon, a report on NATPE Convention in New Orleans, the industry venue where many TV shows are announced, sold and bought, and much, much more.

International Animation Industry (February)

Children & Animation (March)

Music & Animation (April)

Commecials (May)

Education (June)

ANIMATION WORLD MAGAZINE January 1997 81